Search Results for:

4AD

The National

Cherry Tree EP - 2021 Reissue

    Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which - thanks to its collection of delicate ballads and anthemic crowd-pleasers - sums up what they do best in under 30 minutes. Now a firm fan-favourite, among Cherry Tree’s seven tracks are now National classics ‘About Today’ and ‘All The Wine’, plus a thrilling live version of ‘Murder Me Rachael’ that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World.

    Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

    The National

    Sad Songs For Dirty Lovers - 2021 Reissue

      The National’s second album, Sad Songs For Dirty Lovers (2003) proved a leap forward from 2001’s eponymous debut, showing a band adept at delivering warm embraces and gut punches in equal measure.

      With word of mouth now spreading on the band, critics proved equally enthusiastic... Pitchfork in their glowing review called it a “Gorgeous train wreck” that “Lives up to its blunt title (with) Matt Berninger’s self-eff acing barbs matched by the band’s equally potent hooks,” while Uncut also became early champions saying the album was “A genuine treasure... Livid as a bruise, this is brave, desperate, beautiful music.”

      No longer a secret among those that know, Sad Songs For Dirty Lovers is an important record in The National’s discography with this new remaster showing that it’s more than standing the test of time.

      Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

      The National

      The National - 2021 Reissue

        Celebrating its 20th anniversary in 2021, The National’s self-titled debut album of sozzled Americana is a thing of beauty, laden with heavy hints that this was a special band in the making.

        Their first release, The National arrived two years after The National formed, a time when they were juggling bandlife with needing to hold down full-time jobs. And while nods to the alt. rock artists that inspired them (Pavement, Silver Jews) can be heard, so too are the beginnings of something all their own – Matt Berninger’s stunning and unexpected lyrics being pinned to melodies that stop you in your tracks.

        The National marks the start point for one of the best bands of their generation with its new master helping elevate it to new levels. A great primer to a great band.

        Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

        Adrianne Lenker

        Songs And Instrumentals

          'Songs And Instrumentals' are two distinct collections, both written and recorded in April after Big Thief’s March tour was abruptly cut short due to coronavirus. After returning to the states from Europe, Lenker decamped to a one room cabin in the mountains of western Massachusetts.

          The album’s stunning artwork are watercolor paintings done by Adrianne’s grandmother, Diane Lee.

          STAFF COMMENTS

          says: There really is no stopping Lenker is there? (and why indeed would you want to?) 'Songs And Instrumentals' carries on the runaway success of Lenkers band, Big Thief but moves into the more subtle recesses of her songwriting prowess. Brittle in parts, but shining throughout, this is an accomplished and immersive outing.

          FORMAT INFORMATION

          2xLtd LP Info: This vinyl record is 100% analog-analog-analog (AAA). No digital process was used in the production of this sound recording.

          2xLP Info: This vinyl record is 100% analog-analog-analog (AAA). No digital process was used in the production of this sound recording.

          Future Islands

          The Far Field

          Future Islands are Samuel T. Herring (vocals, lyrics), William Cashion (bass, guitars) and Gerrit Whelmers (keyboards, programming).

          Recorded in Los Angeles with GRAMMY award-winning producer John Congleton at the legendary Sunset Sound (where everyone from The Beach Boys to Prince have laid down masterpieces), The Far Field’s twelve chest-pounding love songs and odes to the road brilliantly express the central themes the band have been exploring for the last decade: that there is power in emotional vulnerability, that one can find a way to laugh and cry in the same breath – and be stronger for it.

          The Far Field features string and horn arrangements by Patrick McMinn and is their first record to feature live drums by Michael Lowry, who joined the band prior to their sensational performance of ‘Seasons (Waiting On You)’ on David Letterman’s late night TV show and has remained a fixture since. Blondie’s Debbie Harry also makes a guest appearance, in a duet with Herring on penultimate track ‘Shadows’.

          STAFF COMMENTS

          says: Whilst I know the lead singer of Future Islands has enchanted people with his 'Grandad after 7 sherries' stage-swagger, it is the music here that is truly the star (thank goodness). Slightly gothic atmospheres, soaring synths and plenty of late-80's plate reverbs. Dark but driven indie for the eye-makeup crowd.

          FORMAT INFORMATION

          Coloured LP Info: Limited edition 180 gram white vinyl.

          The Lemon Twigs emerged in 2016 with their debut LP, Do Hollywood, which was praised by Rolling Stone for its “toting hooky songs that stand out for their intricate arrangements and delectable melodies” and NPR Music who mused, “like listening to music from a time that never was…a baroque rock romp.”

          Their second album, Go To School is their most ambitious work yet; a conceptual musical, conceived by brothers Brian and Michael D’Addario, which tells a heartbreaking coming of age story of Shane, a pure of heart chimpanzee raised as a human boy as he comes to terms with the obstacles of life. Todd Rundgren and their real-life mother Susan Hall play Shane’s parents. The album also features contributions from Jody Stephens (Big Star), Natalie Mering (Weyes Blood) and their father Ronnie D’Addario.

          STAFF COMMENTS

          says: Immediately reminiscent of all your favourite rock greats (you name it, the Lemon Twigs know it), but with a brilliantly innovative sense of pacing and style. Brilliantly mature and eccentrically conceptual, this is a killer LP from a band rising through the ranks quickly. Ace.

          Future Islands

          As Long As You Are

            As Long As You Are looks to the past as well as the future, confronting old ghosts and embracing a new hope. It is an album about trust, full of honesty, redemption and “letting go”, allowing old wounds to heal and bringing painful chapters to a close.

            As Long As You Are also signals a new era for Future Islands. Drummer Mike Lowry officially joins as a fully-fledged member and songwriter bolstering the founding trio of William Cashion, Samuel T. Herring and Gerrit Welmers. Together, the four-piece took on official production duties for the first time, co-producing As Long As You Are with engineer Steve Wright at his Wrightway Studios in Baltimore. Their brand of new wave synth-pop full of bright melodies and heavenly choruses is as euphoric and uninhibitedly joyful as anything the band has done in their 14-year career.

            STAFF COMMENTS

            says: There is something absolutely enthralling about Samuel T. Herring's on-stage dancing. We all know that, but it's with no small amount of joy that I can confirm the quality of the music is indeed up to the same high standards. Longing, wistful and emotive, with electronic synthy sections beautifully offset with the more driven anthemic material. 'As Long As You Are' is a triumph, and quite possibly the best work they've done.

            FORMAT INFORMATION

            Coloured LP Info: Petrol blue vinyl.

            The Wolfgang Press

            Unremembered, Remembered

              Featuring six never before heard tracks, Unremembered, Remembered is essentially the final album from The Wolfgang Press that never was. Having exhumed the tracks, the band have mastered their final studio sessions at Abbey Road and they sound magnificent. Art for this release has been done by long-time 4AD collaborator Chris Bigg. Originally released for Record Store Day in August 2020, this is now available as a limited edition one-off pressing on CD

              The Mountain Goats

              Tallahassee

                The 4AD debut from The Mountain Goats, unavailable for many years, now reissued on vinyl.

                It was the band’s second new album to be released in 2002 and it marked quite a few changes. First of all, after releasing records (and cassettes) on small record labels such as Shrimper, Ajax and Emperor Jones, ‘Tallahassee’ was the first Mountain Goats album to be released on 4AD.

                It was also the first Mountain Goats album to have an official single released, for the song ‘See America Right’.

                The Lemon Twigs

                Songs For The General Public

                  The D’Addario brothers will return this Spring with their third Lemon Twigs album, Songs For The General Public - written, recorded and produced by the D’Addarios at their home studio in Long Island, Sonora Studios in Los Angeles and Electric Lady in New York City.

                  The prodigiously-talented brothers first emerged as The Lemon Twigs in 2016 with their debut LP Do Hollywood, whose showstopping melodies mined from every era of rock quickly earned fans in Elton John, Questlove, and Jack Antonoff. Go To School, the ambitious 15-track coming-of-age opus, followed in 2018 and solidified the band’s reputation for building grand walls of sound around an audacious concept.

                  Sam France of Foxygen writes, “The Twigs are legends - teen sensations, k pop stars, BrotherLovers, Twiggy Cola Lite. Their songs exist as cultural freebase. Cocaine, water, baking soda, and DNA. (o.k. )

                  While the White Smile Face People appoint Garage Girl, Digital Bass Face or Shitbag Boy as the new FreakoftheWeek, the Twigs have lived 26 cat lives from here to japan making real life bonafide Humans rejoice in the pagan art of Magick Pop Freebase. There are millions of fans, You see; the twigz are more Popular than You, they are Greater than Your Favorite Band, they are a phenomenon.”

                  STAFF COMMENTS

                  says: Lemon twigs carry all of the glam rock sensibilities of some of the greatest bands of the 80's but tempered with the sort of melodic tomfoolery that wouldn't sound out of date coming from Elton John. It's a baffling, and absolutely spellbinding combination, and serves to gain them fans from all over the musical spectrum. They're going to be huge, and this is further evidence to back that up.

                  FORMAT INFORMATION

                  Coloured LP Info: Indies exclusive opaque red vinyl.

                  Bing & Ruth

                  Species

                    Bing & Ruth, the ever-evolving project helmed by New York composer David Moore, has announced details of a new album, scheduled for release this summer. While on a surface level, Species is an exploration of the sonic possibilities of the Farfisa organ, aided only by a clarinet and double bass (played respectively by founding members Jeremy Viner and Jeff Ratner), the title Species is a nod to both humanity and humility – a devotion to the godly intuition with which we are all endowed, and the humbleness required of us to perceive it. It’s also about suspended time and trance; not just a steady movement from A to B, but as something that flows, meanders and eddies, like water.

                    Species, and the transcendental state it embodies, was inspired by two recent loves of Moore’s: the desert and long-distance running. Briefly relocating from his New York base to Point Dume, between the Pacific Ocean and the desert, Moore was able to indulge in both passions, which in turn provided stimulus for new work. He says, “I’d found myself in places unfamiliar enough that I could easily lose all sense of direction, size and, more than anything, all sense of time. The music I was making became a kind of reflection of these intentional detachments - and a place to mirror that feeling of trance that had pushed them out in the first place.”

                    STAFF COMMENTS

                    says: Shifting swathes of reverberated electronics, bright echoes and soaring synths slowly evolve into euphoric slo-mo key changes and aquatic phrases. It's an ambient lovers dream, and one that will be on my stereo for some time to come.

                    The National

                    High Violet - 10 Year Anniversary Expanded Edition

                      Originally released in May 2010, the critically acclaimed fifth studio album features the now-classics “Terrible Love”, “Bloodbuzz Ohio”, “England”, and perennial show closer, “Vanderlyle Crybaby Geeks.” In addition to the 10 original tracks, the triple LP package includes a third LP which includes tracks never before available on vinyl, including “Wake Up Your Saints,” an alternate version of “Terrible Love”, “Walk Off” and more.

                      FORMAT INFORMATION

                      3xColoured LP Info: Triple marbled white & purple/violet vinyl.

                      Cocteau Twins

                      Head Over Heels - Vinyl Reissue

                        4AD are repressing two more Cocteau Twins’ albums on vinyl this coming March, the albums Head Over Heels and Treasure. Both following on from the recent reissues of Blue Bell Knoll, Heaven or Las Vegas, Tiny Dynamine / Echoes In A Shallow Bay and The Pink Opaque.

                        Using new masters created from high definition files transferred from the original analogue tapes, both albums are being pressed on 180g heavyweight vinyl and come with download codes.

                        Head Over Heels:
                        Released in late-1983, Head Over Heels is the Cocteau Twins’ second album and features classic tracks ‘Sugar Hiccup’ and ‘Musette And Drums’. Coming not long after original bassist Will Heggie had departed the band, the chemistry between remaining members Elizabeth Fraser and Robin Guthrie was flourishing and by moving the band on from the starkness of their debut, they were now making the music that would help them define the decade ahead; her wordless, dreamlike vocals a powerful instrument over his lush, textured guitars their trademark.

                        Pixies

                        Trompe Le Monde

                          On this final album from The Pixies, Frank Black explores his sci-fi fascination in his usual quirky, cryptic style. Less abrasive than previous releases and with more depth emotionally, "Trompe Le Monde" is a rousing swan song that opened the flood gates for alternative rock bands to finally break through into the mainstream. The Pixies still remain one of the most influential rock bands of the last 20 years.

                          FORMAT INFORMATION

                          LP Info: On 180 gram vinyl for the first time.

                          Cocteau Twins

                          Garlands - Reissue

                            Garlands was the Cocteau Twins debut album, released in the early autumn of 1982. It was the only album they made with original bassist Will Heggie. Describing it as “haunting”, “spellbound”, “diaphanous”, and discerning a “frosting of sweetness”, the critics wore out their adjective; this was rock music - just - but it was conjured in the unlikeliest environment from the strangest of material. This is Garlands’ first vinyl pressing in over ten years, remastered from the original analogue tapes.

                            FORMAT INFORMATION

                            LP Info: 140g black vinyl.

                            LP includes MP3 Download Code.

                            Cocteau Twins

                            Victorialand - Reissue

                              Victorialand, Cocteau Twins’ fourth album, was released in spring 1986. The largely acoustic, non-percussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil's second album. Dif Juz label mate Richard Thomas guested on tabla and saxophone. The Guardian said "It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice."  Victorialand is remastered from the original analogue tapes.

                              FORMAT INFORMATION

                              LP Info: 140g black vinyl.

                              U.S. Girls

                              Heavy Light

                              Heavy Light is the highly anticipated seventh album by U.S. Girls, the protean musical enterprise of multi-disciplinary artist Meg Remy. While Remy has been widely acclaimed for a panoply of closely observed character studies, on Heavy Light she turns inward, recounting personal narratives to create a deeply introspective about-face. The songs are an inquest into the melancholy flavour of hindsight, both personal and cultural. Remy makes this notion formally explicit with the inclusion of three re-worked, previously released songs: ‘Statehouse (It’s A Man’s World)’, ‘Red Ford Radio’, and ‘Overtime’, the latter of which is released today as Heavy Light’s lead single. Its companion video, which stars Andrea Nann of the Dreamwalker Dance Company, was created by Remy.

                              Heavy Light follows 2018’s internationally critically-acclaimed breakout album In A Poem Unlimited. Recently named one of the best albums of the decade by Pitchfork, it was lauded across the pond by the likes of The Guardian, The Sunday Times, Crack and Q magazine for being Remy’s most accessible record in her then decade-long career. Heavy Light is produced by Remy and was recorded live with 20 session musicians - including E Street Band saxophonist Jake Clemons - in Montreal’s acclaimed Hotel 2 Tango studio. Remy worked with co-writers Basia Bulat and Rich Morel to develop the core of Heavy Light, a set of songs conceived as a balance between orchestral percussion (as richly arranged by percussionist Ed Squires) and the human voice (conducted by Kritty Uranowski). The resulting album finds Remy casting herself as lead voice among a harmonious multitude, the singers of which lend not only their voices, but also share reflections on childhood experiences that are collaged into moving spoken word interludes throughout the album. The album is mixed by long-time collaborators Maximilian ‘Twig’ Turnbull, Steve Chahley and Tony Price.

                              STAFF COMMENTS

                              says: Grooving, psychedelic riffs clash headfirst with Remy's singular vocal brilliance, soaring wonderfully atop thumping percussion and flickering synths. 'Heavy Light' tackles political matters and worldly experiences in a moving and enthralling way. Brilliant stuff.

                              FORMAT INFORMATION

                              Coloured LP Info: White and purple splatter vinyl.

                              mis·an·thrope /ˈmis(ə)nˌTHrōp,ˈmiz(ə)nˌTHrōp/, noun : a person who dislikes humankind and avoids human society.

                              An·thro·po·cene /ˈanTHrəpəˌsēn/ , noun : the current geological age, viewed as the period during which human activity has been the dominant influence on climate and the environment.

                              Miss Anthropocene : The Goddess of Climate Crisis An album by Grimes.

                              STAFF COMMENTS

                              says: Some of the more propulsive pieces on Grimes' latest outing could easily have been on Art Angels or Visions, being wrapped in the same optimistic bounce that we've become used to, but the majority of the LP is a much more measured and sombre affair, rich with dark, trappy beats and (understandably), politically charged vitriol. A brilliant development for Grimes, and a great listen.

                              Pale Saints

                              The Comforts Of Madness - 30th Anniversary Edition

                                On the eve of a post-Thatcherite Britain, the Pale Saints, alongside the likes of Lush, Ride and Slowdive, were ushering in a new wave of British indie. And in 4AD, they found a perfect home for their music - an exciting & undeniable meld of noise and dream-pop.

                                Their debut album, The Comforts of Madness, didn’t disappoint, now standing as one of the best of its era. Pitchfork placed it in their Best 50 Shoegaze Albums Of All Time saying, “There’s a restless urgency, particularly when the volume swells and the rhythms intensify. That energy not only keeps (it) vital, it emphasizes Pale Saints’ inventiveness, how they channelled softness and rage into something distinctive.”

                                Nearly 30 years on and The Comforts of Madness is finally getting the reissue treatment. Having been remastered, a faithful LP repress on black vinyl is being released as well as double CD and double clear vinyl editions, both of which come with a bonus disc of previously unreleased demos and the band’s only John Peel Session, recorded in 1989.

                                FORMAT INFORMATION

                                2xColoured LP Info: Deluxe clear vinyl double LP includes unreleased demos & 1989 John Peel Session.

                                2xCD Info: Deluxe double CD includes unreleased demos & 1989 John Peel Session.

                                Jóhann Jóhannsson makes stately, slow-building and hauntingly melodic music – frequently combining electronic processing with classical orchestrations - that has been bewitching listeners for the last few years. Following "IBM 1401, A User's Manual", "Fordlândia" is the second in a proposed trilogy based on technology and iconic American brand names. "Fordlândia" is Jóhann Jóhannsson's most complete and beautiful piece of music to date, a fascinating, immersive and deeply rewarding web of ideas and melodies, which is sure to win him a legion of new listeners.

                                FORMAT INFORMATION

                                2xLP Info: Vinyl reissue.

                                Tune-Yards

                                Sorry To Bother You: Original Score

                                  Tune-Yards’ original score for Boots Riley’s acclaimed surrealist social satire 2018 film ‘Sorry To Bother You’ (starring Lakeith Stanfield and Tessa Thompson) has been praised by Billboard as “a simultaneously erratic and ecstatic medley of instruments and vocal layering”. Tune-Yards’ score album follows the 2018 release of ‘Sorry To Bother You: The Soundtrack’ by The Coup. Director Boots Riley described the score as “the film’s musical voice” and explains the difference between the score and the soundtrack: “The characters can’t hear [the score]; the soundtrack, the characters can [hear].” The score also includes dialogue samples from the film and four bonus tracks never before heard in the film. The bonus tracks feature up-and-coming Oakland artists including Chhoti Maa as well as Lyrics Born and Lateef the Truthspeaker.

                                  Gene Clark

                                  No Other - Reissue

                                    Gene Clark’s 1974 masterpiece gets the reappraisal it’s long overdue.

                                    “One of the greatest albums ever made. Initially celebrated for its obscurity, No Other is now celebrated for its magnificence. It was in every way a magnum opus: epic, sprawling, poetic, choral, rococo.” The Guardian

                                    On the eve of what would have been American singer-songwriter and Byrds founding member Gene Clark’s 75th birthday comes the reissue of one of his finest works, No Other. Released in 1974 on Asylum Records, a year after the Byrds shortlived reunion, Gene reached for the stars with No Other; a psychedelic rock, folk, country and soul record that famously cost a small fortune to make. Although received warmly by critics, it flopped and was soon deleted, a failure Gene never came to terms with.

                                    However, as The New York Times wrote around the record’s 40th anniversary in 2014, “hindsight has burnished No Other, as it has redeemed other albums that went on to be reconstructed as rock repertory, like Big Star’s Third/Sister Lovers and Lou Reed’s Berlin,” with the album now being increasingly recognised as one of the greatest of its time, if not all time.

                                    45 years on and recently remastered at Abbey Road, 4AD have given No Other the reappraisal it deserves. 

                                    STAFF COMMENTS

                                    says: Recently remastered at Abbey Road and 45 years on from its original release 4AD are giving Gene Clark’s 1974 masterpiece it’s long overdue reissue. Available on black vinyl, standard CD, a limited deluxe CD edition in a hardbound book cover, and an all encompassing and sumptuous silver box set containing vinyl, three SACD’s, Blu-Ray and an 80 page hardbound book.

                                    FORMAT INFORMATION

                                    LP Info: The original album Remastered and pressed on black vinyl.

                                    2xDeluxe CD Info: Hardbound book cover.
                                    The original album remastered & bonus disc of new session mixes.

                                    CD Info: The original album Rremastered.

                                    Big Thief

                                    Two Hands

                                      Big Thief had only just finished work on their 3rd album, U.F.O.F. – “the celestial twin” – days before in a cabin studio in the woods of Washington State. Now it was time to birth U.F.O.F.’s sister album – “the earth twin” – Two Hands. 30 miles west of El Paso, surrounded by 3,000 acres of pecan orchards and only a stone’s throw from the Mexican border, Big Thief (a.k.a. Adrianne Lenker, Buck Meek, Max Oleartchik, and James Krivchenia) set up their instruments as close together as possible to capture their most important collection of songs yet. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt.

                                      In sharp contrast to the wet environment of the U.F.O.F. session, the southwestern Sonic Ranch studio was chosen for its vast desert location. The 105-degree weather boiled away any clinging memories of the green trees and wet air of the previous session. Two Hands had to be completely different— an album about the Earth and the bones beneath it. The songs were recorded live with almost no overdubs. All but two songs feature entirely live vocal takes, leaving Adrianne’s voice suspended above the mix in dry air, raw and vulnerable as ever. With raw power and intimacy, Two Hands folds itself gracefully into Big Thief’s impressive discography. This body of work grows deeper and more inspiring with each new album.

                                      STAFF COMMENTS

                                      says: It's October, and this is already the second Big Thief album this year. It would be understandable to think that such prolific creation would dilute the end product a little (it often does...) but in the case of Lenker, Meek and co, it couldn't be further from the truth. Arresting, heartfelt and beautiful throughout. Yet another stunning outing from the unstoppable Big Thief.

                                      Efterklang

                                      Altid Sammen

                                        Altid Sammen (meaning “always together”) is deep and sonorous, steeped in the sonic experimentation that has long been their trademark since Tripper, the Danes’ 2004 debut. As bold and ambitious in scope as their last collection of songs, Piramida, Casper Clausen (vocals), Mads Brauer (synths, electronics) and Rasmus Stolberg (bass) have taken another creative U-turn, this time fusing baroque instrumentation with their signature expansive sound.

                                        Efterklang’s last release, Piramida, centred around a ghost town in the Arctic, was a grand and all-encompassing project that spawned a movie, live album and a series of unforgettable shows (including a live debut at the Sydney Opera House). Their final performance in Sønderborg – the southern Danish town where the band grew up – marked a closing of a chapter, for Piramida and for Efterklang.

                                        “We needed a break from the album and touring routine, and we needed a break from Efterklang,” says Clausen. “After the Sønderborg show, things felt very exciting – and a bit scary too. We could think freely, and move in new directions again, just focusing on the things that excited the 3 of us.”

                                        That break saw the trio explore projects outside of the group’s confines. Together they co-wrote and performed an opera with friend and composer Karsten Fundal (LEAVES, The Colour Of Falling) as part of the Copenhagen Opera Festival. Meanwhile, Clausen, Brauer and Stolberg reunited with Efterklang’s touring drummer Tatu Rönkkö for a new band, Liima. In sharp contrast to Efterklang, they scaled down the music process, creating songs in a day, and released two records of icy, grand electronic pop, ii (2016) and 1982 (2017).

                                        What lured them back as Efterklang was another off-kilter collaboration, this time with B.O.X, a Belgian ensemble founded by lute player Pieter Theuns that performs new music with baroque orchestration. Initially invited by Theuns to compose music for a joint performance, the experience inspired and invigorated the trio to return to the studio for a new Efterklang album proper. For perhaps the first time in the band’s history, they took a less-is-more approach to Altid Sammen, engaging on a more primal and emotional level. The album also sees the trio break from tradition with Clausen singing in his mother tongue some of his most personal lyrics thus far.

                                        “Altid Sammen’s songs are about belief and togetherness,” Clausen says. “Not in a religious way – none of us are believers of a defined religion. The words are searching for meaning in intimate relationships, in nature, in death and eternity. The bonds we create; to gather, hold hands, sing or share a moment together. We’re all connected, across nations, age, sex and gender. We come together with all of our backgrounds, and we move apart in all sorts of directions, always together.”

                                        STAFF COMMENTS

                                        says: I've loved Efterklang for some time now, and it really has been fascinating to see the trajectory of the core band and their former members (Peter Broderick being one of them!). Their newest outing takes the morose poppy melodies of Piramida with some of the electronic scree of their earlier work, and it's a perfectly measured and completely brilliant electronic pop LP. Superb as ever from Clausen & co.

                                        Velvet Negroni

                                        NEON BROWN

                                        On Neon Brown, Velvet Negroni is a griot relaying the life and times of his own island—it’s a singular place, with the squeak and thrum of guitar strings looped over drum machine beats accented by steely marimbas, all creating a pocket for one of the most authentic and original artistic voices ever committed to tape.

                                        You follow his voice as it rhymes in double time, or hiccups and la-las through a break, or croons from a room down the hall, as it unfolds into another story of lost love, or another joke about lost drugs, as he tries to make sense of a life spent in the (sometimes harrowing) pursuit of communion.

                                        Turns out what sounds like a lonely island is in fact the city of Minneapolis. Velvet Negroni grew up in an outer suburb of the Twin Cities as Jeremy Nutzman, a black kid adopted into a white evangelical Christian family. His fundamentalist missionary of a mother drove him to virtuosity, both as a classically trained concert pianist and a competitive figure skater, but he had to climb out his bedroom window to play guitar in his first band.

                                        In 2016 after years of performing under a schizophrenic rotation of various aliases, Nutzman finally landed on a persona that he felt he could be proud of. It was in a fancy cocktail bar in Austin, Texas that he hatched Velvet Negroni. A tour opening for Bon Iver followed, as well as a writing credit on Kid Cudi and Kanye West’s “Feel the Love” off their 2018 album Kids See Ghosts. That same year, he released his first singles on b4, “First Time” and “Crybaby.”

                                        It was in the summer of 2018, together with his friends, producers Psymun (Future, Young Thug, Dua Saleh) and Tickle Torture, that Velvet Negroni composed the stories on NEON BROWN, stories he’s been waiting a lifetime to tell.


                                        I Am Easy To Find is the band’s eighth studio album and the follow-up to 2017’s GRAMMY®-award winning release Sleep Well Beast. A companion short film with the same name will also be released with music by The National and inspired by the album. The film was directed by Academy Award-nominated director Mike Mills (20th Century Women, Beginners), and starring Academy Award Winner Alicia Vikander. Mills, along with the band, is credited as co-producer of the album, which was mostly recorded at Long Pond, Hudson Valley, NY with additional sessions in Paris, Berlin, Cincinnati, Austin, Dublin, Brooklyn and more far flung locations. The album features vocal contributions from Sharon Van Etten, Brooklyn Youth Chorus, Lisa Hannigan, Mina Tindle and more.

                                        I Am Easy to Find is a 24-minute film by Mills starring Alicia Vikander, and a 68-minute album by the National. The former is not the video for the latter; the latter is not the soundtrack to the former. The two projects are, as Mills calls them, “Playfully hostile siblings that love to steal from each other”—they share music and words and DNA and impulses and a vision about what it means to be human in 2019, but don’t necessarily need one another. The movie was composed like a piece of music; the music was assembled like a film, by a film director. The frontman and natural focal point was deliberately and dramatically sidestaged in favour of a variety of female voices, nearly all of whom have long been in the group’s orbit. It is unlike anything either artist has ever attempted and also totally in line with how they’ve created for much of their careers.

                                        As the album’s opening track, ‘You Had Your Soul With You,’ unfurls, it’s so far, so National: a digitally manipulated guitar line, skittering drums, Berninger’s familiar baritone, mounting tension. Then around the 2:15 mark, the true nature of I Am Easy To Find announces itself: The racket subsides, strings swell, and the voice of long-time David Bowie bandmate Gail Ann Dorsey booms out—not as background vocals, not as a hook, but to take over the song. Elsewhere it’s Irish singer-songwriter Lisa Hannigan, or Sharon Van Etten, or Mina Tindle or Kate Stables of This Is the Kit, or varying combinations of them. The Brooklyn Youth Choir, whom Bryce Dessner had worked with before. There are choral arrangements and strings on nearly every track, largely put together by Bryce in Paris—not a negation of the band’s dramatic tendencies, but a redistribution of them.

                                        “Yes, there are a lot of women singing on this, but it wasn't because, ‘Oh, let's have more women's voices,’ says Berninger. “It was more, ‘Let's have more of a fabric of people's identities.’ It would have been better to have had other male singers, but my ego wouldn't let that happen.”

                                        FORMAT INFORMATION

                                        2xColoured LP Info: Indies only 140gram clear vinyl – limited edition, one pressing only.

                                        3xDeluxe LP Info: 140g set on opaque red / yellow / grey colours.
                                        5th side contains 22 minutes of music from the I Am Easy To Find Original Film Score – EXCLUSIVE to this format.
                                        Etching on the 6th side.
                                        Tri-fold LP jacket.
                                        3x printed innersleeves.
                                        24 page booklet.
                                        24” x 24” poster folder.
                                        Housed in printed plastic sleeve.

                                        2xLP Info: Black vinyl.

                                        U.F.O.F., F standing for ‘Friend’, is the name of the highly anticipated third record by Big Thief, set to be released by 4AD on May. It was recorded in rural western Washington at Bear Creek Studios with engineer Dom Monks, and producer Andrew Sarlo who was also behind their previous albums.

                                        The New York-based band, featuring Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums), has spent the last 4 years on an incessant world tour, winning the devotion of an enthusiastic and rapidly expanding audience.

                                        Their songs represent an emotional bravery and realness that weaves intimate relationships with the listener, a phenomenon that has made them one of the most widely-respected bands of the current era.

                                        STAFF COMMENTS

                                        says: Big Thief are one of our favourites in Piccadilly, and this latest iteration of their sound really shows why. Skilfully toeing the line between mournful acoustic balladry, simmering country and more upbeat melodic indie, Big Thief have once again brought us an eminently listenable and transportative triumph.

                                        Aldous Harding releases her third album, Designer. Designer finds the New Zealander hitting her creative stride. After the sleeper success of the internationally lauded Party, Harding came off a 100-date tour last summer and went straight into the studio with a collection of songs written on the road.

                                        Reuniting with John Parish, producer of Party, Harding spent 15 days recording and 10 days mixing at Rockfield Studios, Monmouth and Bristol’s J&J Studio and Playpen. From the bold strokes of opening track ‘Fixture Picture’, there is an overriding sense of an artist confident in their work, with contributions from Huw Evans (H. Hawkline), Stephen Black (Sweet Baboo), drummer Gwion Llewelyn and violinist Clare Mactaggart broadening and complimenting Harding’s rich and timeless songwriting.

                                        STAFF COMMENTS

                                        says: Another stunning LP from Harding here, being a favourite in the shop, we're no newbies to her own brand of rhythmic country-tinged melodic indie, but this time around we get the Welsh input from Huw Hawkline and Steve Baboo, both acts i'm well accustomed with from my time in Cardiff, and both perfectly fitting in to Harding's musical world. Beautiful stuff.

                                        FORMAT INFORMATION

                                        LP includes MP3 Download Code.

                                        Frank Black

                                        Teenager Of The Year

                                          THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                          Long out of print repress on exclusive coloured vinyl - White vinyl

                                          Frank Black

                                          Frank Black

                                            THIS IS A RECORD STORE DAY 2019 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                            Long out of print repress on exclusive coloured vinyl - Orange vinyl

                                            Gallipoli, Beirut’s fifth album, started life when Zach Condon returned to his old Farfisa organ, the same one he used to write his first two albums, Gulag Orkestar (2006) and The Flying Club Cup (2007). After stints writing and recording in both New York and Berlin, with time for Zach to recover from a broken arm factored in, band plus producer Gabe Wax (Speedy Ortiz, Soccer Mommy, Adrianne Lenker / Big Thief) headed to Puglia in Italy to finish the album.

                                            With the remote rural setting “the right amount of isolated”, an intense month of 12 to 16-hour days in the studio with day trips around the coastline followed. Inspired by the surroundings, Gallipoli is unintentionally more visceral than Beirut’s more recent albums, alive with an energy that is further enhanced by every creak and groan of their instruments, every detuned note, and all amp buzz and technical malfunction being left in the cracks of the songs.

                                            STAFF COMMENTS

                                            says: There's always been something mesmerising about Beirut, their exotic choice of rhythms and instrumentation coalescing with their minimal songwriting style and almost ethereal vocal projection. You'll be delighted to know that this one is every bit the excellent follow-up to 2015's 'No No No', and (thankfully) a little longer. Superb stuff.

                                            EX:RE

                                            EX:RE - Bonus Disc Edition

                                            FOR A LIMITED PERIOD ONLY BOTH ALL FORMATS INCLUDE A FREE CD BONUS DISC, 'LIVE AT HOXTON HALL 28.11.18'  (TRACKLISTING BELOW).

                                            Elena Tonra, guitarist, vocalist and lyricist of Daughter, has announced details of a solo project. Running parallel to Daughter, she’s assumed the pseudonym Ex:Re (pronounced ex ray) for her eponymously-titled debut solo album, a deeply personal record that was made with both a sense of urgency and a cathartic need. Just finished, it’s being released with equal speed and will be out digitally on 30th November

                                            Tonra’s candid solo songs document the time after a relationship ended and are written like unsent letters to herself and others. Taking on a creative moniker, she chose Ex:Re to mean ‘regarding ex’ and also ‘X-Ray’ as a way to look inside and see what is really there. Writing took a year but the recording process lasted mere months, turning to Fabian Prynn (4AD’s in-house engineer and producer) and composer Josephine Stephenson on cello to help bring Ex:Re to life.

                                            Elena said of the album, “Although the record is written for someone, a lot of the time it’s about the space without that person in it. In every scenario, there's either the person in memory or the noticeable absence of that person in the present moment. I suppose it is a break-up record, however I do not talk about the relationship at all, and he hardly features in the scenes. He is only felt as a ghostly presence.”

                                            STAFF COMMENTS

                                            says: Daughter were one of the most refreshing bands to come out a good few years ago, and this Solo album from haunting voiced singer, Elena Tonra is a beautiful and comfortingly different outlet for her undeniable vocal and songwriting talents. Beautiful.

                                            FORMAT INFORMATION

                                            LP Info: Includes the 'Live At Hoxton Hall 28.11.18' CD bonus disc.

                                            Deerhunter

                                            Why Hasn't Everything Already Disappeared?

                                            As thrilling and unpredictable as anything in Deerhunter’s near 15-year career, Why Hasn’t Everything Already Disappeared? was recorded in several strategic geographic points across North America, and produced by the band, Cate LeBon, Ben H. Allen III, and Ben Etter. Forgetting the questions and making up unrelated answers, Deerhunter’s eighth LP is a science fiction album about the present. Exhausted with the toxic concept of nostalgia, they reinvent their approach to microphones, the drum kit, the harpsichord, the electromechanical and synthetic sounds of keyboards. Whatever guitars are left are pure chrome, plugged straight into the mixing desk with no amplifier or vintage warmth.

                                            STAFF COMMENTS

                                            says: Is it a guitar? Is it a synth? Is it some old-time harpsichord-y thing plugged through a sh*t-ton of reverb? Your guess is as good as mine. The only thing for sure is that indie darlings Deerhunter have created their most consistent and nuanced album since 2010’s ‘Halcyon Digest’ in their seventh LP, ‘Why Hasn’t Everything Already Disappeared?’.
                                            With fellow Top 20 maverick Cate Le Bon at the production helm, there’s nothing the band can’t do—whimsical groove-laced indie and atmospheric expansiveness are married perfectly on songs like the opener “What Happens to People?” and penultimate bop “Plains”, and just as the voice of God bids us good morning on “Detournement”, guitarist Lockett Pundt’s sole offering “Tarnung” is already preparing to tuck us into bed.
                                            Every song is a stutter-funk gem, a space-age exploration of pastoral life, a strutting jaunt into the end of days. Every song is a grower, and boy, how big they grow…

                                            FORMAT INFORMATION

                                            Coloured LP Info: Grey coloured vinyl.

                                            This Mortal Coil was the given name of a strictly-studio project that spawned three albums, conceived and produced by one-time 4AD founder Ivo Watts-Russell.

                                            Over the span of eight years he, along with Blackwing Studios house engineer/ co-producer, John Fryer, and a rotating cast of musicians, created original works, musical links and reinterpretations of impeccably curated songs; introducing a new audience to the talents of a previous generation including Big Star, Tim Buckley, Roy Harper, Spirit, Gene Clark, Dino Valenti, Rain Parade, Emmylou Harris, Syd Barrett and Colin Newman, amongst others.

                                            Released two years after their debut album, This Mortal Coil’s Filigree & Shadow (1986) was no less ornate than its predecessor; a double album with each of its four sides a self-contained unit.

                                            New faces joined the cast for this record, including a variety of singers Ivo handpicked like Alison Limerick, Jeanette, Dominic Appleton (Breathless), sisters Deirdre and Louise Rutkowski (Sunset Gun), and Richenel.

                                            An intense listen, The Quietus called it “tortured yet oddly euphoric… (music which) could easily rip flimsy souls apart.”

                                            FORMAT INFORMATION

                                            2xLtd LP Info: The new deluxe vinyl version differs from the original release with its artwork reimagined by Ivo Watts-Russell and Vaughan Oliver (4AD’s long-time visual partner). Presented in beautiful, hand finished and high-gloss gatefold sleeve, using remastered audio made from the original analogue studio tapes by the late, great John Dent.

                                            This Mortal Coil was the given name of a strictly-studio project that spawned three albums, conceived and produced by one-time 4AD founder Ivo Watts-Russell.

                                            Over the span of eight years he, along with Blackwing Studios house engineer/ co-producer, John Fryer, and a rotating cast of musicians, created original works, musical links and reinterpretations of impeccably curated songs; introducing a new audience to the talents of a previous generation including Big Star, Tim Buckley, Roy Harper, Spirit, Gene Clark, Dino Valenti, Rain Parade, Emmylou Harris, Syd Barrett and Colin Newman, amongst others.

                                            Landing at the start of a new decade, after much had happened in both producer Ivo Watts-Russell’s life and with his 4AD label, the final part of the This Mortal Coil trilogy, Blood (1991), felt like a perfect conclusion.

                                            Meticulously orchestrated, vocalists Alison Limerick, Deirdre and Louise Rutkowski return from the second album with Caroline Crawley (Shelleyan Orphan / Babacar) and 4AD signees Heidi Berry, Kim Deal (Pixies / The Breeders), Tanya Donelly (Throwing Muses / The Breeders / Belly) and Pieter Nooten all enlisted.

                                            “Shedding some of its chillier post-punk components, blossoming into material airy and gorgeous. Covers — many from the psychedelic era — still dominate the material, but they are largely indistinguishable from the originals, so seamless is (it’s) indelible tone. Blood is a treasure.” Consequence of Sound

                                            FORMAT INFORMATION

                                            Deluxe CD Info: This deluxe CD edition is manufactured by the Ichikudo company in Japan, packaged in striking gatefold paper sleeve, printed to the highest standard. Originally made available as part of a highly limited boxset back in 2011, this new version differs by being UHQCDs (Ultimate High Quality Compact Disc) rather than HDCDs (High Definition Compatible Digital).

                                            Tune-Yards / U.S. Girls

                                            Coat To Coast / Velvet 4 - Split 7"

                                              This Mortal Coil was the given name of a strictly-studio project that spawned three albums, conceived and produced by one-time 4AD founder Ivo Watts-Russell.

                                              Over the span of eight years he, along with Blackwing Studios house engineer/ co-producer, John Fryer, and a rotating cast of musicians, created original works, musical links and reinterpretations of impeccably curated songs; introducing a new audience to the talents of a previous generation including Big Star, Tim Buckley, Roy Harper, Spirit, Gene Clark, Dino Valenti, Rain Parade, Emmylou Harris, Syd Barrett and Colin Newman, amongst others.

                                              This Mortal Coil’s debut album It’ll End In Tears (1984) forged the template; helping to crystallise 4AD’s emerging signature sound whilst shining a light on some of their stable with Cocteau Twins, Colourbox, Dead Can Dance and The Wolfgang Press all involved. The line-up was completed by arranger Martin McCarrick, violinist Gini Ball, Howard Devoto of Buzzcocks / Magazine fame and Cindytalk’s Gordon Sharp.

                                              Pitchfork recently named it one of the best Dream Pop albums ever, a moment which “catalysed 4AD’s ascendance from the stilted poetics of goth rock to the kings of gauzy transcendence.”

                                              FORMAT INFORMATION

                                              Ltd LP Info: The new deluxe vinyl version differs from the original release with its artwork reimagined by Ivo Watts-Russell and Vaughan Oliver (4AD’s long-time visual partner). Presented in beautiful, hand finished and high-gloss gatefold sleeve, using remastered audio made from the original analogue studio tapes by the late, great John Dent.

                                              Bauhaus

                                              In The Flat Field

                                                Late 2018 will mark the 40th anniversary of Bauhaus. To celebrate, Beggars Arkive is reissuing six records from the band’s catalogue on limited edition coloured vinyl.

                                                Formed in 1978, The legendary and hugely influential quartet hailed from Northampton, England and is comprised of Peter Murphy, Daniel Ash, David J and Kevin Haskins. The dark, dramatic music that they made, possessed far more force, variety and playfulness than the "founding fathers of goth" tag that is always attached to them.

                                                Bauhaus' landmark debut album, In the Flat Field, came out towards the end of 4AD's first eventful year. Following the plan at the time, the band then "moved upstairs" to Beggars Banquet, for whom they cut three further albums before dissolving in 1983. They charted with their cover of David Bowie’s “Ziggy Stardust”, they’ve been and namechecked by everyone from Nine Inch Nails, Sepultura, Janes Addiction, MGMT, Interpol, Bjork, Nirvana and more. They remain a huge cult concern, periodically reforming to wow their legions of dedicated followers.

                                                In The Flat Field is the band’s debut studio album, released by 4AD and considered to be one of the very first “goth” albums.

                                                This was mastered from HD audio files transferred from the original tapes.

                                                “this record’s influence on the impending goth scene cannot be underestimated or denied” – Drowned In Sound

                                                FORMAT INFORMATION

                                                Coloured LP Info: Bronze coloured vinyl.

                                                30th Anniversary Deluxe Edition of Pixies’ Debut EP and Album, Come On Pilgrim and Surfer Rosa, includes Bonus 1986 Radio Concert Live From The Fallout Shelter

                                                “An unparalleled example of rule-smashing innovation in independent music.” Pitchfork

                                                “Smack in between hardcore punk and alternative, their secret weapon was leaping from sweet to screaming, driving a spike into Eighties rock.” Rolling Stone

                                                “Surfer Rosa quickly cemented itself as a must-have album (and) 30 years on, its aged into timelessness rather than becoming a period piece.” The Quietus

                                                It’s been thirty years since the release of Surfer Rosa – a record made up of rage, religion, gore, incest and superheroes named Tony – a debut album so good that it’s since seen as a masterpiece. A year prior came Come On Pilgrim, an eight-track mini-album released in 1987 which contained cuts culled from their first ever studio session, where they famously recorded seventeen tracks in just three days (in full, this session makes up the band’s much bootlegged and now officially released The Purple Tape).

                                                These formative records showed the Pixies to be an alien breed; four oddball outsiders from Boston blending US underground thrash rock, indie surf pop and Spanish-language flamenco with the Biblical mythology of Frances’s childhood. They would go on to record another masterpiece in 1989’s Doolittle but it’s the gruesome glory of Surfer Rosa, and the ruined sexuality of its cover image (a topless flamenco dancer in a crumbling Mexican bar) that set a fresh blueprint for an indie rock dynamism that not only planted the seeds of grunge (Kurt Cobain would admit that he was trying to imitate the record while writing Nevermind) but of much of the best rock music made since.

                                                To celebrate this milestone, Pixies are playing fi ve sold-out intimate shows at London’s Roundhouse this October and preceding them is the release of Come On Pilgrim… It’s Surfer Rosa, the thirtieth anniversary edition which contains Come On Pilgrim, Surfer Rosa and Live From The Fallout Shelter, a concert-cum-session that first aired in late-1986 on WJUL in Lowell, MA.

                                                In addition to both a three CD and three LP edition, there’s also a super-limited and stunning deluxe clothbound hardbook three LP version, which will be a must for all fans. Like all other Pixies sleeves, Vaughan Oliver returns as designer, stunningly reinterpreting his original artwork with Simon Larbalestier’s iconic photographs remaining these record’s crowning glory.

                                                FORMAT INFORMATION

                                                3xColoured LP Info: Wide Spine Cover, Gold Vinyl, Download Card of Live From The Fallout Shelter Included.

                                                3xDeluxe LP Info: Clothbound Hardbook.
                                                Clear Vinyl.
                                                Lyric Booklet.
                                                Art Book & Download Card of Live From The Fallout Shelter Included.

                                                FREE SHIPPING This item has FREE UK shipping!

                                                3xCD Info: Hardbook Wallet Case with Lyric Booklet.

                                                “Like Arthur Russell before them, they give equal floorspace to the spiritual and the sensual.” Pitchfork

                                                Gang Gang Dance – one of the most enduring and creatively vibrant musical acts of 21st Century New York – return with brand new album, Kazuashita.

                                                Formed initially as an improvisational outfit in the early 2000s, Gang Gang Dance are Lizzi Bougatsos, Brian DeGraw and Josh Diamond. All independently operating artists in their own rights, they consistently blur the boundaries between music and art; as comfortable today performing at the Whitney Biennial as they are at Coachella, and count Dash Snow & Nate Lowman, Tinchy Stryder and the Boredoms as previous collaborators.

                                                Held together by Lizzi Bougatsos and her otherworldly vocal, Kazuashita is an intoxicating mix of ethereal shoegaze and electronic ambience, self-produced by Brian DeGraw.

                                                STAFF COMMENTS

                                                says: Seguing brilliantly between a swooning electronic swell and clicking, glitched-out histrionics, GGD manage to toe the line between downbeat post-shoegaze electronics and more driven elements without batting an eyelid. Perfectly balanced and brilliantly evocative.

                                                The Breeders

                                                Pod

                                                  The Breeders were formed by The Pixies Kim Deal and Throwing Muses Tanya Donelly. This was their debut album originally released by 4AD in May 1990. The album, produced by Steve Albini combines the energy and angular pop sensibilities of their other bands, bolstered by creative songwriting and clever arrangements. It features iconic Vaughan Oliver artwork.

                                                  The Breeders

                                                  Last Splash

                                                    Originally released by 4AD in August 1993, ‘Last Splash’. By the time this album was released, Tanya Donelly had left the band to for Belly and Kim Deal had been joined by her sister Kelley. The album features possibly their best known song, the late 90s indie-disco classic ‘Cannonball’.

                                                    All Nerve – the first new album from The Breeders in a decade – reunites band members Kim and Kelley Deal, Josephine Wiggs and Jim Macpherson, the line-up behind the iconic and platinum-selling record, Last Splash.

                                                    The quartet returned to the stage in 2013 to celebrate the album’s 20th anniversary and have been quietly working on new material since then.

                                                    Featuring singles ‘Wait in the Car’ and title track ‘All Nerve’, recording took place at Candyland, Dayton, Kentucky, with Mike Montgomery; Electrical Audio, Chicago, with Steve Albini and Greg Norman; and with Tom Rastikis at Fernwood Studios, Dayton, Ohio. Artwork was conceived by Chris Bigg, who has worked with The Breeders since their first album, Pod.

                                                    STAFF COMMENTS

                                                    says: It's hard to not to get tingles down the spine when hearing Kim Deal's voice. As one of the most recognisable vocals in grunge history. Deal's role in the pixies was unarguably important, but this really takes that iconic backing vocal and brings it rightfully to the forefront. This is a confident, rocking delight, as nuanced as it is heavy.

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: limited LP version pressed on 180g orange vinyl and with different artwork is available exclusively for independent stores.

                                                    LP Info: 180g black vinyl LP.

                                                    U.S. Girls

                                                    In A Poem Unlimited

                                                      2017 marks a decade of U.S. Girls, the protean musical enterprise of multi-disciplinary artist, Meg Remy. Today, Remy announces details of her sixth studio album In a Poem Unlimited, which will be released on 16th February 2018, plus the official video for a new U.S. Girls song, ‘Velvet 4 Sale’.

                                                      Remy’s second release for 4AD, which also includes her recently released single, ‘Mad As Hell’ – a clarion call for pacifism – was tracked in collaboration with Toronto-based instrumental collective the Cosmic Range, and features arrangements by long-time contributors Maxmilian Turnball and Louis Percival. The dizzying buffet of live grooves on In a Poem Unlimited represents an inversion of the dusty, sample-based minimal textures of Half Free, Remy’s euphoric 4AD debut. Steered into focus by Remy and mixer/co-producer Steve Chahley, Poem features disco employed as a protest vernacular (‘Mad As Hell’), as well as an unrelenting assault (‘Time’); moody, slow-burning funk (‘Velvet 4 Sale’ & ‘L-Over’) and earnest synth anthems ‘Rosebud’ and ‘Poem’, which form the album’s emotional core.

                                                      Poem features dark meditations reflecting charged atmospheres that directly precede and follow acts of violence. Many of the songs are character studies of women grappling with power; how to gain and exert it spiritually, as well as desperate strategies to mitigate its infliction. Remy also rallies against the public lies told by political and religious leaders, and more crucially, questions the lies we tell ourselves in order to survive. While U.S. Girls, denoting the plural, is no longer a misnomer, In A Poem Unlimited may be Remy’s most individually distilled protest to date.

                                                      Following ‘Mad As Hell’, Poem album opener ‘Velvet 4 Sale’ is released today. The song concerns a female narrator imploring another to buy a gun for protection, impressing that the only way to change men is for women to use violence. Remy says, “Men are lucky women (and children) have yet to take up arms. And although I hope this never happens and I completely disagree that violence is ever effective, this very idea was ripe for a song.”

                                                      The accompanying video explores the idea of acknowledgement as a form of retribution, a counterbalance more powerful than violence itself. Remy plays a police officer who discovers that a fellow cop who has beaten his wife will be left off the hook as a “professional courtesy”. By the power of her unrelenting gaze she banishes the abuser in the final images of this powerful and provocative video. This striking tableau representing the power of bearing witness ties back into the album’s underlying theme; that truth and acknowledgement are our most potent and corrosive weapons in the fight against repressive inequality. Remy’s work with this video (which she co-directed with Alex Kingsmill) and the album as a whole, illustrate and seek to inspire the taking up of these moral arms.

                                                      STAFF COMMENTS

                                                      says: This superb new outing from Meg Remy in her U.S Girls moniker sees snappy guitar falling under a landslide of heavy-rock power chords and scattered electronic elements, whilst still retaining all of it's cohesion and grace. More percussive numbers sit happily alongside the more folky, quiet pieces without skipping a beat.

                                                      Tune-Yards

                                                      I Can Feel You Creep Into My Private Life

                                                      Officially now a duo, Merrill Garbus is joined by long-time collaborator Nate Brenner. Their new album, I can feel you creep into my private life, tackles race, politics, intersectional feminism and environmental prophecies head on. But in the billows of intense subject matter, the album is their most immediate and upbeat yet – this is Tune-Yards’ music to dance to.

                                                      The follow-up to 2014’s acclaimed album, Nikki Nack, much of I can feel you creep into my private life was recorded at John Vanderslice’s new Tiny Telephone studio in their hometown of Oakland, CA. To help finish this stunning record, they enlisted mixer Mikaelin “Blue” Bluespruce (Solange, Skepta, Kendrick Lamar) and mastered it in Harlem, NY with Dave Kutch (Jay-Z, Chance the Rapper).

                                                      STAFF COMMENTS

                                                      says: Sliding from floor-filling disco into hefty futuristic urban breakdowns within the space of a couple short minutes, this takes all the influence from an astounding line-up of collaborators, but manages to sound EXACTLY like tune-yards at their very best. Essential

                                                      Never before pressed on vinyl, "IBM 1401, A User's Manual", is one of Jóhann Jóhannsson’s most loved works. Released in 2006, the decade since its release has seen Jóhann establish himself as one of the most important composers in the World today, most notably scoring movies such as Arrival, Sicario and The Theory of Everything.

                                                      Inspired by the work his father did in the sixties when chief maintenance engineer of one of Iceland’s first computers, Jóhann originally wrote "IBM 1401, A User's Manual" to accompany a dance piece by long-standing collaborator and friend, Erna Ómarsdóttir. For this album release, he rewrote it for a sixty-piece string orchestra, with a new final movement (built around a poem by Dorothy Parker) and incorporating both electronics, and reel-to-reel recordings made by his father and friends in 1971 of an enormous IBM 1401 mainframe computer singing the hymn Ísland Ögrum Skorið by Sigvaldi Kaldalóns as it was being decommissioned.

                                                      The first ever pressing of "IBM 1401, A User's Manual" comes in a deluxe gatefold sleeve, having been reworked by Chris Bigg (v23) from his original design. Pressed on clear vinyl, two album tracks recorded in 2010 with the City of Prague Philharmonic Orchestra at the Rudolfinum, Dvorák Hall in Prague have also been added and are exclusive to this release.


                                                      Torres

                                                      Three Futures

                                                        Torres is the creative alter-ego of Brooklyn-based Mackenzie Scott. In describing the album, Scott says it “is entirely about using the body that each of us has been given as a mechanism of joy.” The 10 original tracks on Three Futures embrace ecstasy, desire and indulgence rather than self-denial, and exude this idea via immersive music. Mechanized grooves are placed at the forefront, providing a framework for perforated electro-pop static, harsh gothic / industrial textures, and insistent Krautrock motifs.

                                                        For Three Futures, Scott reconnected with producer Rob Ellis (PJ Harvey), who worked on TORRES’ last album Sprinter, to record in Stockport and Dorset. David Tolomei (Beach House, Future Islands) mixed the album.

                                                        STAFF COMMENTS

                                                        says: Innately listenable synth-pop / indie goodness on this newest one from all-round bon oeuf and songwriter extraordinaire Torres. It's a heartfelt and beautiful distillation of sexuality, companionship and brilliantly effusive melodicism. Would listen again.

                                                        The National return with their much anticipated seventh album, produced by Aaron Dessner, with additional production by Matt Berninger and Bryce Dessner. The album was mixed by Peter Katis and recorded at Aaron’s Long Pond studio in Hudson Valley, NY.

                                                        While in some ways it’s typically National-sounding, they’ve definitely added some new elements to their sound. Opening track “Nobody Else Will Be There” is a stripped back ballad with melancholic piano, and Matt’s distinct vocals, but the electronics pulsing away in the background are a sign of what’s to come with the album.

                                                        All the usual elements are there, intricate guitars, delicate piano keys, scatter-shot drums and of course Matt’s mumbling/crooning baritone, but a new layer of electronics bubbling away in the mix adds a new dimension to their sound.

                                                        As with the last couple of albums, it features mostly fairly downtempo ballads but they do ramp things up from time to time: “Day I Die”, “They System Only Dreams In Total” and the big rock-out track of the album, “Turtleneck”. It’s taken a few listens to get into it, but as a fan I’m certainly not disappointed.

                                                        FORMAT INFORMATION

                                                        2xColoured LP Info: INDIE EXCLUSIVE limited run edition pressed on BLUE vinyl. Comes in a gatefold sleeve, and includes a download card and poster.

                                                        2xLP Info: Standard edition pressed on white vinyl. Comes in a gatefold sleeve, and includes a download card and poster.

                                                        Igniting interest with her eponymous debut album released just two years ago, Auckland’s Aldous Harding has become known for her sinister torch songs, gentle laments and eerie odes delivered with a charismatic combination of hubris, shrewd wit and quiet horror.

                                                        Produced by John Parish (PJ Harvey, Sparklehorse) in Bristol, a world away from her New Zealand home, Party introduces a new talent to the stark, dramatic realm where Kate Bush and Scott Walker reside. As well as contributions from Parish, Perfume Genius’s Mike Hadreas also lends vocals to the aforementioned ‘Imagining My Man’ and album closer ‘Swell Does The Skull’.

                                                        Dead Can Dance

                                                        The Serpent's Egg

                                                          Dead Can Dance’s fourth album, The Serpent’s Egg (1988), came during a prolific period for the band, being released just four years after their debut. It was also the first they made at their own studio which, according to Brendan Perry, allowed them to continue to grow in “their own self-proclaimed direction”. A minimal yet rather grandiose record which includes fan favourites ‘The Host Of Seraphim’ and ‘Ullyses’, The Serpent’s Egg is a triumph and perhaps the finest example of where Brendan and Lisa’s diametrically different influences are overcome to form a new, almost synaesthetic whole.

                                                          Dead Can Dance

                                                          Toward The Within

                                                            ‘Toward The Within’: Released in October 1994 and out of print on vinyl ever since, ‘Toward The Within’ was an audio and video document of the 1993 sell-out Dead Can Dance World tour. Recorded at the Mayfair Theater in Santa Monica, California, it marked one of the final performances at the historic theatre as it later suffered major structural damage in an earthquake in 1994. Despite being a live recording, ‘Toward The Within’ includes twelve previously unrecorded tracks as well as material from their six previous studio albums.

                                                            Dead Can Dance

                                                            Garden Of Arcane Delights & Peel Sessions

                                                              ‘Garden Of The Arcane Delights’ / ‘The John Peel Sessions’: ‘Garden Of The Arcane Delights’ is the only EP released by Dead Can Dance, coming out in 1984 and acting as a bridge between their first two albums. Its sleeve a sketch by Brendan Perry, depicting “primal man deprived of perception, standing within the confines of a garden containing a fountain and trees laden with fruit... a Blakean universe in which mankind can only redeem itself, can only rid itself of blindness, through the correct interpretation of signs and events that permeate the fabric of nature’s laws.”

                                                              This new expanded version sees the EP faithfully pressed on to one piece of a vinyl at 45rpm with a second disc being added, compiling both of the band’s sessions for John Peel, recorded in the same time period.

                                                              When Castlemaine’s Oliver Hugh Perry released his self-recorded debut EP, ‘Tropical Oceans’, D.D Dumbo was born. Led by the spooky strut of the title-track, the lo-fi four song-set of blues-laced, deconstructed pop announced Perry as an exciting newcomer fluent in a language all his own. People took notice and soon he was performing solo with a 12-string electric guitar, two drums and a bunch of effect pedals and on tour with the likes of Daughter, Iron & Wine, Jungle, St Vincent, Tame Impala, tUnE-yArDs and Warpaint.

                                                              ‘Utopia Defeated’ is his debut album, an epic, sprawling opus sprung from Oliver’s imagination, written and performed almost entirely by him. Based in the 4AD Studios in London, the album was recorded, engineered and produced by Perry and 4AD’s resident engineer Fabian Prynn.

                                                              Featuring the singles ‘Satan’ and ‘Walrus’, the tentrack album hurdles effortlessly over the expectations set by his intriguing debut EP. In an early review, Uncut magazine heralded it as “a looping, globally attuned 2016 update of Jeff Buckley’s ‘Grace’.”

                                                              Galvanized by Tampa hardcore and inspired by its miscreant noise, A Corpse Wired For Sound signals a new chapter for Merchandise. Their second for album 4AD, Merchandise have stripped back to the core of Carson Cox (vocals, electronics), Dave Vassalotti (guitar, electronics) and Pat Brady (bass) to make A Corpse Wired For Sound. The trio travelled to Rosà, Italy to start proceedings, recording half in a studio there and the rest at home, in Tampa as well as in Cox’s newly adopted bases of New York and Berlin.

                                                              The album’s metallic title is inspired by a science fiction short story by JG Ballard, but equally sums up the band’s current state of mind; “we were ‘reborn’ as a rock band for our last record (After The End)," says Vassalotti, “and then we straight-up died again. It couldn’t last. The result is this distended corpse responding to you from both sides of the Atlantic, forever singing in spite of everything.”



                                                              Scott Walker

                                                              The Childhood Of A Leader - Original Soundtrack

                                                              Scott Walker follows his remarkable collaboration with Sunn O))) with this remarkable soundtrack to Brady Corbet’s directorial debut, Walker’s first score work since the Pola X soundtrack in 1999.

                                                              Partly inspired by Jean-Paul Sartre’s short story of the same name, The Childhood of a Leader is a tense psychological drama tracing the formative years of a young boy and set against the backdrop of the 1919 Paris Peace Conference that led to the establishment of the Treaty of Versailles.

                                                              Walker continues to work with long-term collaborators Peter Walsh (co-producer) and Mark Warman (musical director), with the latter conducting an orchestra comprised of 46 string players and 16 brass for the studio recording.

                                                              FORMAT INFORMATION

                                                              Indies Exclusive LP Info: Limited edition clear vinyl.

                                                              Dead Can Dance

                                                              Dead Can Dance

                                                                On their eponymous debut album, originally released in 1984, Dead Can Dance successfully harnessed a “bewitching barrage of sounds, layering grinding guitars and even a dulcimer-like yang chin over a taut wash of percussion. If the range of the group is staggering, then so too is their disciplined economy, no song lasting more than four minutes or degenerating into formless cacophony. With the five group members continually interchanging instruments, only the vocals of Lisa Gerrard and Brendan Perry remain as a constant focus”.

                                                                The 2016 LP version is a repress of the original release.

                                                                Dead Can Dance

                                                                Into The Labyrinth

                                                                  Into The Labyrinth (1993) is Dead Can Dance’s sixth album, one of their most successful releases, its title a reference to the Greek legend of Theseus going into the Labyrinth to slay the Minotaur. It came when Brendan Perry and Lisa Gerrard had embarked on more individual personal paths, now writing their songs independent of one another, and on separate continents. Engineered and produced by Brendan at his Quivvy Church studio in Ireland, the album is an audiophile benchmark and also noted for being their first without any guests, instead they played all the instruments.

                                                                  The 2016 LP version is also a double LP like the original release, but comes with brand new cover artwork and an altered track sequence.

                                                                  ‘This Moment’ is the first album by Danish artist Søren Juul to be released under his own name, having previously recorded using the moniker Indians.

                                                                  A deeply personal account of Juul’s life over a tumultuous three-year period, ‘This Moment’ was recorded mainly in Copenhagen and finished in Los Angeles with producer and fellow Dane Peter Stengaard. An uplifting and redemptive work, the immersive soundscapes of the songs reach heights Juul’s work under Indians had hinted at.

                                                                  As Indians, Juul released the acclaimed album ‘Somewhere Else’, scored the stunning song ‘Oblivion’ for the major motion picture ‘The Fault In Our Stars’, composed works for the Copenhagen Philharmonic and was nominated in four categories for the prestigious Danish music awards Gaffa Prisen. He also toured the world with the likes of Beirut, Daughter, Julia Holter and Perfume Genius.

                                                                  Methyl Ethel

                                                                  Oh Inhuman Spectacle

                                                                  New to 4AD, Australian trio Methyl Ethel’s celebrated debut album is being given a worldwide release. Hailing from the remote fringes of Perth in Western Australia, band linchpin Jake Webb - like 4AD peers Grimes and Bradford Cox before him - wrote, played and recorded everything on ‘Oh Inhuman Spectacle’.

                                                                  Crafted in isolation, the album’s understated psychedelic pop quickly drew plaudits, leading Webb to recruit Chris Wright (drums) and Thom Stewart (bass) - friends from the tight-knit and thriving music scene in Perth - to help realise the songs live as a full-fledged band.

                                                                  Having gained notable success in Australia including being nominated for the prestigious Australian Music Prize and taking Laneway Festival by storm, Methyl Ethel are now poised to take their music overseas with the worldwide release of ‘Oh Inhuman Spectacle’ and a huge run of touring in both Europe and North America to coincide.

                                                                  STAFF COMMENTS

                                                                  says: Like a modern, indiefied iteration of Syd Barrett with the melodic intonations of the ghosts of post-punk. Woozy rhythms and fuzzed-out basses, twirling arpeggios meet chugging guitars and soaring strained vocal melodies. Definitely one to keep an eye on.

                                                                  This trio comprises of The National's rhythm section, brothers Scott and Bryan Devendorf along with Trombonist / arranger Ben Lanz who has worked with Beirut and Sufjan Stevens amongst others.

                                                                  LNZNDRF’s debut is rock minimalism meets sonic maximalism. Recorded in a church in Cincinnati over two and a half days, the eight songs on the album were improvised with a vital spirit harking back to the reason the members became musicians in the first place.

                                                                  The songs, which were edited from 30+ minute jams, evoke the essence of their expansive, largely improvised live shows.

                                                                  Nearly three years after the release of their debut 'If You Leave', Daughter – the London-based trio of Elena Tonra, Igor Haefeli and Remi Aguilella – will return in 2016 with a new album, entitled 'Not To Disappear'.

                                                                  'Not To Disappear' is Daughter’s second album and finds the band making confident strides forward both sonically and lyrically. Elena, Igor and Remi spent a summer in New York recording 'Not To Disappear' with Nicolas Vernhes (Deerhunter, War On Drugs, Animal Collective) at his Rare Book Room studio in Greenpoint, Brooklyn.

                                                                  STAFF COMMENTS

                                                                  says: An amazing album by the very talented Daughter, it’s expressive and emotional throughout. More progressive and experimental from their previous album, ‘Not to Disappear’ is filled with devotion. Absorbing and beautiful, I would recommend it to anyone.

                                                                  As Marylin Manson once said, "This Is The New Shit"! Grimes is back in the house, beating up your speaker stack at her batshit best. Faced with the tricky decision of how to follow up her trend setting, hot cake-like selling breakout smash "Visions", the now LA-based musician took the obvious route of synth-baroque chamber music. Well at least on oddball opener "Laughing And Not Being Normal". From there we accelerate through the whole host of iPod-friendly pop, from country EDM, through baile funk and nu disco to chill out. But before you lose faith that the mighty Grimes has fallen in with the wrong crowd since her move to LA, all those mainstream tropes are perfectly subverted with a well judged post modern subtlety, while retaining all the hooks, riffs and melodies which makes pop, well, popular. Spanning over 14 tracks "Art Angels" features collaborations with Janelle Monáe and newcomer, Taiwanese rapper Aristophanes, but like all of her previous albums was written and recorded entirely as a solo endeavour. The new album features more live instrumentation than ever before with Grimes playing piano, guitar and violin and continuing her evolution as a musician and a producer for her most ambitious album to date.

                                                                  STAFF COMMENTS

                                                                  says: The pop sensation Grimes’new album was an instant hit, her electro style remains but comes back with even more pop-power (which I didn’t think was even possible!) It has a feisty cartoon anime vibe, extravagant reverb and dreamlike lyrics for her angelic vocals.

                                                                  Deerhunter

                                                                  Fading Frontier

                                                                    Fading Frontier is the seventh studio album by Deerhunter. The record was made by founding members Bradford Cox, Lockett Pundt and Moses Archuleta, and bassist Josh McKay. Written in their hometown of Atlanta, GA, production duties were shared by the band and Ben H. Allen III, continuing a collaboration that began with 2010’s Halcyon Digest.

                                                                    Following the death-rattle garage catharsis of 2013’s Monomania, the group has shifted towards something strikingly balanced, focused on melody and texture. The songs are brighter; if not in content, then in the album’s production. Starkness plays against clutter in what is the band’s most complex yet accessible work to date.

                                                                    Fading Frontier shows that a decade in, Deerhunter has lost none of its intensity. As the group matures, so they have grown into the most consistent purveyors of art-rock of their generation.

                                                                    Cocteau Twins

                                                                    Tiny Dynamine / Echoes In A Shallow Bay

                                                                      With a history of releasing singles between albums, the two EPs of ‘Tiny Dynamine’ and ‘Echoes In A Shallow Bay’ were originally released two weeks apart back in November 1985. Seen as companion pieces, they both acted as a precursor to the band’s fourth studio album, ‘Victorialand’.

                                                                      30 years later, the EPs are now being married together on to one piece of heavyweight vinyl, using new masters created from high definition files transferred from the original analogue tapes and completed with reformatted artwork. 

                                                                      STAFF COMMENTS

                                                                      says: Dreams as music. One of the best bands ever.

                                                                      FORMAT INFORMATION

                                                                      LP includes MP3 Download Code.

                                                                      Back in 1986, ‘The Pink Opaque’ brought together the best of the Cocteau Twins’ early works to become their first official release in the US.

                                                                      Already a cult band on college radio, some classics like ‘Pearly-Dewdrops’ Drops’ and ‘Aikea-Guinea’ were given new mixes for this release, while it also featured ‘Millimillenary’, the first run out for incoming band member Simon Raymonde.

                                                                      To this day, ‘The Pink Opaque’ remains a great entry point to a wonderful band. 

                                                                      Using new masters created from high definition files transferred from the original analogue tapes, the album is a 180g vinyl pressing complete with download code. 

                                                                      To celebrate its 25th anniversary, 4AD release PIXIES: Doolittle 25, a deluxe, three-disc package that brings together for the first time all the album's B-sides, Peel Sessions and demos from the time, along with the original album. Nearly half of the tracks on this album are being commercially released for the first time.

                                                                      Doolittle, the second studio album from Pixies - Black Francis, Joey Santiago, Kim Deal and David Loverng - was to prove a pivotal moment for both band and the wider scene. For the few years prior, the band had enjoyed cult status in their homeland with their early records having to find their way in to the US on import. Their secret was well and truly out in 1989 though when their British label (4AD) joined forces with American giant Elektra in time for Doolittle to receive a full domestic release.

                                                                      Produced by Gil Norton and recorded between two studios (Downtown Recorders in Boston MA and Carriage House Studios in Stamford CT) in late-1988, Doolittle was an instant hit, containing some of the band’s most memorable singles (‘Monkey Gone To Heaven’, ‘Here Comes Your Man’, ‘Debaser’). A slow-burn success story followed, helping them to sell in excess of a million copies in the US alone.

                                                                      An important record, included among the many plaudits thrown Doolittle’s way was Pitchfork ranking it at Number 4 in their Best Albums of the 80s poll, while NME writers in 2004 named it their Second Best Album of All Time. The band toured Doolittle in 2009 to celebrate its 20th birthday and 5 years on from then, it’s now time to give it the deluxe release treatment it deserves.

                                                                      Like all other Pixies sleeves before it, Vaughan Oliver returns to oversee its design, reinterpreting his original artwork and Simon Larbalestier’s photographs to create a stunning design using metallic ink.

                                                                      FORMAT INFORMATION

                                                                      3xLP Info: Gatefold 3LP version, with three pieces of 180g black vinyl being pressed - the first containing the original album, the second, 6 B-Sides and 2 full Peel Sessions and the third being the album in complete demo form plus 3 bonus tracks. A download card is included, offering access to all LP tracks plus 4 more bonus tracks.

                                                                      3xCD Info: Doolittle 25 contains an impressive 50 tracks with the original album on disc one, 2 full Peel Sessions & 6 B-sides on disc two and the complete album in demo form plus 7 bonus tracks on disc three.

                                                                      Cocteau Twins

                                                                      Heaven Or Las Vegas - Remastered Vinyl Edition

                                                                        ‘Heaven Or Las Vegas’ followed in 1990 and was to become their most commercially successful release, reaching Number 7 in the UK Album Charts. Numerous publications have since declared it one of the best albums of the 90s, with Pitchfork calling it “a core of ungodly gorgeous songs that is every bit as moving and relevant today as it ever was.” Label founder Ivo Watts-Russell goes further, candidly revealing in the recent 4AD biography ‘Facing The Other Way’ that this album wasn’t just his favourite Cocteaus album but also his favourite all-time 4AD album and, “by a long shot,” calling it “the perfect record.” With tracks as majestic as the title track, ‘Cherry-Coloured Funk’ and ‘Iceblink Luck’, who’s to argue?

                                                                        STAFF COMMENTS

                                                                        says: Their pinnacle. Out of this world. Label head Ivo Watts-Russell says it's his favourite 4AD album ever.

                                                                        FORMAT INFORMATION

                                                                        LP Info: Re-pressed for the first time since release on heavyweight black vinyl. Cut from brand-new HD 96/24 masters.

                                                                        LP includes MP3 Download Code.

                                                                        Cocteau Twins

                                                                        Blue Bell Knoll - Remastered Vinyl Edition

                                                                        Released in 1988, ‘Blue Bell Knoll’ is the Cocteau Twins’ fifth studio album. Delivered after a slightly longer period between records than fans had been used to, this was the first they recorded in their own studio. Freed to now make music how they wanted and with no clock to beat, they rose to the challenge of producing it themselves with real aplomb, introducing a new pop sensibility to their sound, expressed through shorter, ‘hookier’ songs with occasionally intelligible lyrics. Sound On Sound magazine praised the band for showing “an uncanny feel for contemporary sound possibilities without making even the slightest concessions towards the mainstream.”

                                                                        A beautiful record that showed the band’s continued maturity, it also included one of their most enduring songs, ‘Carolyn’s Fingers’, which was reflected on the album’s cover - a close-up of their friend Carolyn’s hand as shot by Juergen Teller.

                                                                        STAFF COMMENTS

                                                                        says: Liz Fraser possesses possibly the most sublime voice in the history of contemporary music, and never was it put to more exquisite use than on the peerless 'Carolyn's Fingers, the very high point of a celestial, iridescent sonic daydream.

                                                                        FORMAT INFORMATION

                                                                        LP Info: Re-pressed for the first time since release on heavyweight black vinyl. Cut from brand-new HD 96/24 masters.

                                                                        Daughter

                                                                        4AD Session

                                                                        Presenting the most ambitious 4AD Session to date, Daughter have unveiled a very special five-song performance recorded in London’s iconic Air Studios with composer Joe Duddell and a 10-piece classical ensemble.

                                                                        Last summer the London-based trio and acclaimed composer / arranger Joe Duddell were brought together by Festival No.6 to participate in a unique project. As the festival’s Composer-In-Residence Duddell, whose impressive CV has seen him collaborate with Elbow and compose for the BBC Proms, approached Daughter with an idea for the band to perform classical versions of their songs. Daughter, who have always wanted to explore this area, agreed to his proposal immediately. With the green light given, Duddell set about crafting classical arrangements for five tracks from Daughter’s debut album ‘If You Leave’ which the band, together with an eight-piece ensemble, performed in front of an audience of sixty people in Port Meirion.

                                                                        4AD Session fimmakers Jane Pollard and Iain Forsyth were lucky enough to witness that mesmerising performance and both they and the band were keen to re-enact that sense of intimacy for a wider audience. “Daughter is a special band; there’s a unique chemistry and a work ethic - an effortless, instinctive talent between these three people,” say Iain and Jane. “We knew we needed to find the optimal conditions and collaborators to ensure that everything was aligned to allow the same magic to happen - the same musicians, Joe Duddell at the helm - but this time in the country’s best recording studio and recorded by the acclaimed Olga Fitzroy amidst a delicate set by art director Sal Pittman.”

                                                                        After further developing the arrangements for those same five songs for the session, Duddell handpicked and assembled a talented cast of young musicians to make up a 10-piece classical ensemble, all of whom are either current students or recent graduates of the Royal Northern College Of Music. Art Director Sal Pittman was also drafted in - her delicate paper birds hang serenely in the space above and around the musicians.

                                                                        In the acoustically and visually stunning Air Studios, Pollard and Forysth captured the trio of Elena Tonra, Igor Haefeli and Remi Aguilella plus Duddell and the RNCM ensemble performing ‘Shallows’, ‘Tomorrow’, ‘Still’, ‘Youth’ and ‘Amsterdam’.



                                                                        FORMAT INFORMATION

                                                                        CD EP Info: Limited to 300 copies.

                                                                        Camera Obscura

                                                                        Desire Lines

                                                                          ‘Desire Lines’ - an album born of life and experience; a record with something to prove. This time Camera Obscura decamped to Portland, Oregon to work with producer Tucker Martine, who has added so much to the music of R.E.M., The Decemberists and Sufjan Stevens previously. The band also brought in Neko Case and Jim James from My Morning Jacket to contribute vocals. The result is a big, gorgeous pop record that sounds like it means it.

                                                                          FORMAT INFORMATION

                                                                          Vinyl comes with CD version of the album enclosed.

                                                                          This is the sixth studio album for the Brooklyn band, and follows 2010’s High Violet, which was No 2 in our Albums of The Year, that year.

                                                                          In an interview with UK’s Uncut Magazine, front man Matt Berninger described the songs as more “immediate and visceral” than their previous work. Trouble Will Find Me possesses a directness, a coherency and an approachability that suggests The National are at their most confident.

                                                                          After a 22-month tour following the release of High Violet the band returned home. Regardless of plans to wait to record new music for another year or two, guitarist Aaron Dessner began working on sketches of new songs that the other members were too inspired by to not fully realise. Matt confesses, “For the past ten years we’d been chasing something, wanting to prove something. And this chase was about trying to disprove our own insecurities. After touring High Violet, I think we felt like we’d finally gotten there. Now we could relax—not in terms of our own expectations but we didn’t have to prove our identity any longer.” The results are simultaneously breakthrough and oddly familiar, the culmination of an artistic journey that has led The National both to a new crest and, somehow, back to their beginnings—when, says Aaron, “our ideas would immediately click with each other. It’s free-wheeling again. The songs on one level are our most complex, and on another they’re our most simple and human. It just feels like we’ve embraced the chemistry we have.” The album was recorded at Clubhouse in Rhinebeck, NY. Trouble Will Find Me was self-produced and mixed by Craig Silvey with additional mixing from Peter Katis and Marcus Paquin.

                                                                          STAFF COMMENTS

                                                                          says: With every album The National have pushed on and made a more ambitious album, constantly upping the ante with bigger arrangements and a bigger sound. So how on earth were the going to follow High Violet?
                                                                          Well, it seems they’ve finally come to terms with who and where they are as a band and made an album that reflects that. The Dressner brothers intricate arrangements are still there, as are the distinctive scatter-shot drum patterns (described perfectly by film director DA Pennebaker as “like rain falling through the leaves of a tree”) and of course Matt Berninger’s rich baritone rolls effortlessly over it all, but “Trouble Will Find Me” is a more relaxed, streamlined collection, and this stripping back gives the songs room to breathe and emphasises just how good they are at what they do. There may be less angst here than in the past, but the romanticism and melancholy are still there and for me, once again they've come up with one of the best albums of the year.

                                                                          FORMAT INFORMATION

                                                                          2xLP Info: Double gatefold heavy vinyl with printed inner sleeve.

                                                                          2xLP includes MP3 Download Code.

                                                                          Daughter are a London-based trio consisting of Elena Tonra (vocals, guitar), Igor Haefeli (guitar) and Remi Aguilella (percussion).

                                                                          Daughter started life in 2010 as an outlet for Elena’s musings. After recording a ‘Demos’ EP, Elena joined forces with Igor, then fellow classmates studying music at college. A four-track EP, ‘His Young Heart’, was self released in April 2011, and with Remi completing the line up soon after, The ‘Wild Youth’ EP was released in late 2011. On the strength of these releases alone they have gained a loyal fanbase which continues to grow as public and media alike discover their charms.

                                                                          ‘If You Leave’ is Daughter’s debut album. Recorded over a period of months at home and in various spaces around London, it was produced by Igor with additional production from Rodhaidh McDonald (The xx, Adele) and Jolyon Vaughan Thomas, and mixed by Ken Thomas (Sigur Ros, M83) at High Bank Studios.

                                                                          Less of a statement of intent, these songs are more a snapshot of a year in Daughter’s short life. Lyrically, Elena plumbs the depths of her psyche to reveal her innermost thoughts, finding catharsis in expounding those internal demons. There may be little light relief here, but the personal themes have universal appeal; tales of doubt, insecurity, fear, anger and loneliness all take centre stage.

                                                                          Musically, Daughter balance an intricate interplay between vocal, guitar and rhythm section. Elena’s vocals are fractured, often delivering savage words with a smoke-tinged whisper. Igor wrestles his guitar to build up a stark and brutal landscape, colliding with Elena’s more structured rhythm guitar. All are punctuated by the jolts of Remi’s minimalist drums.

                                                                          ‘If You Leave’ is a bold first move for an act still in its infancy, and yet the songwriting displays a maturity that belies their youth. Darkness may prevail on ‘If You Leave’, but the future looks extremely bright for Elena, Igor and Remi.

                                                                          FORMAT INFORMATION

                                                                          Vinyl comes with CD version of the album enclosed.

                                                                          Indians

                                                                          Somewhere Else - Bonus Disc Edition

                                                                          INITIAL COPIES OF BOTH THE CD AND VINYL COME WITH AN EXCLUSIVE '4AD SESSIONS' CD BONUS DISC.

                                                                          “Imagine taking the log cabin narrative of (Bon Iver’s) ‘For Emma, Forever Ago’ but transplanting it from rural Wisconsin to a lonely lunar space station” - Under The Radar

                                                                          Coming to the attention of 4AD after a clutch of demo tracks went online early in 2012, Indians emerged in a fittingly understated manner and with ‘Somewhere Else’ have made both an assured and majestic debut album.

                                                                          From Copenhagen, Indians is all the work of one man, Søren Løkke Juul, who brought his band in to being when he felt the need to challenge himself and do something different. Not aiming for anything other than satisfying a creative urge, things have snowballed quickly for him ever since.

                                                                          Performing his first show as Indians in February 2012, he self-released his debut single on 7” a few months later and has since extensively toured both Europe and North America, playing shows with the likes of Beirut, Bear In Heaven, Dan Deacon, Lower Dens, Other Lives, Perfume Genius, Retribution Gospel Choir, Savages and Weird Dreams. To cap it off, he’s joined fellow countrymen Efterklang in signing to 4AD, doubling the number of Scandinavian acts on their roster.

                                                                          Over the summer months, Søren retreated to a studio in the Danish countryside to finish his early demos and write new material to make ‘Somewhere Else’, a personal document that’s equal parts melancholic lament and hopeful stargazing, the title itself an indication of the sense of otherness that runs throughout. Evocative of the natural world, its cavernous tones and Autumnal warmth reflect the vastness of the landscape that formed the backdrop of its conception

                                                                          Indians celebrated their signing with the airing of a 4AD Session, joining the ranks of Bon Iver, St. Vincent, Tune-Yards and Mark Lanegan before them. Like all 4AD Sessions, it was filmed in a day and in the way that the band wanted it. Directed by Iain & Jane, they went to Osea Island, a little-known, privately owned island in the estuary of the Blackwater in Essex, UK where Søren was flanked by two additional band members (his live band floats between solo performances and a three-piece band). Facing up to the challenge of performing in a vast open space, under sky and near water, they triumphed in making quite a first impression.

                                                                          The Birthday Party

                                                                          Junkyard - Special Vinyl Edition

                                                                            4AD reissue ‘Junkyard’ in a special vinyl edition. Apart from the LP, the package also contains a bonus 7” featuring ‘Release The Bats’ and ‘Blast Off’. Additionally, it includes a CD of all 12 tracks, so that fans can also access the music digitally.

                                                                            The album has been mastered from Henry Rollins’ 2000 re-master, previously unavailable in Europe, while the single is a new, 2012 master taken from the original studio analogue tapes.

                                                                            “Released in May 1982, ‘Junkyard’s uncompromising contents signalled both the oncoming demise of the band responsible for them and rock & roll’s logical conclusion. Harnessing the power of The Stooges’ ‘Funhouse’ with the limitless possibilities offered by Captain Beefheart’s ‘Trout Mask Replica’, The Birthday Party were a product of the uncertain times that created them - the unwitting soundtrack to a time of death, darkness and decay.”

                                                                            “Troubled music for a troubled age, Nick Cave’s world was created in a white-hot blast of visceral energy, gut-wrenching violence and Dadaist stupidity while the work of his band mates fleshed out the vision to devastating effect. Here, blasphemous imagery fraternised with scenes of murder, brutality and sadism as it rolled and revelled in a trash aesthetic that belied the intellect behind it. The noise created by the band was at once familiar - a wild mutation of rock’s primordial slime mixed with a nightmarish interpretation of Elmer Bernstein and a skewed vision of the blues spewed out rather than played - yet startlingly new and all underlined by an inevitable finality.”

                                                                            “With the passing of 30 years, ‘Junkyard’ still sounds as if it’s waiting for rock music to catch up with it. Throwing down a taunting gauntlet to subsequent generations of musicians, this feral collection of songs simultaneously closes a door on something that can’t be repeated or improved upon. The distance of time has failed to reduce its sonic power and revisiting Junkyard three decades after its birth is to rediscover an album more melodic if no less manic as was initially perceived.” - Julian Marszalek, The Quietus

                                                                            Twin Shadow, the creative moniker of George Lewis Jr., will release second album ‘Confess’ on 4AD. Self-produced and with mixing duties handled by Michael H. Brauer (Bob Dylan, Paul McCartney), the follow-up to 2010’s ‘Forget’ (“Impressive” - The Sunday Times ****) finds Lewis Jr. doing what he does best; remembering and reinventing, and fashioning a soundtrack which sounds refreshingly and distinctly modern.

                                                                            Talking about his inspiration behind ‘Confess’, New York-based George Lewis Jr. writes: “One winter I crashed my motorcycle, with a friend on the back. I shouldn’t have been riding that day, but I was young and fearless of the black roads, fast and easy in my ways. As the bike slipped from under us my head filled with words. The slow motion moments of calm just after surprise and just before regret are bliss. I remember in that moment I wanted to say everything to him. How could I say everything in a split second? How could I bury my words in his heart?”

                                                                            “I got a new bike and went to LA to record what is now called ‘Confess’. I took the bike out at 6am one morning after not having done much riding in the couple years between ‘Forget’ and ‘Confess’. I noticed my head clearing as I came slowly down a hill where the road around a reservoir began. I pulled back slowly on the throttle with my right hand, and felt the bike start to come to life. My head was still crystal clear… nothing. As I kicked the bike into third, I pulled almost all the way back and jumped forward leaning in towards the gas tank, fighting the wind. I got up to 75 and saw that no one was out but the runners and their four legged friends, the sidewalks became a blur of barking dogs and heads all turning. My mind was empty. I put the bike in fourth and hit 90. The engine jackhammered under my legs. My mind was clear. I inched toward 100 on the speedometer and punch the last five. TON UP! My mind is filled with words. My heart is full of love. This is where I want to be. I want to stay here, and I want to tell you everything.”

                                                                            STAFF COMMENTS

                                                                            says: This is like Part Two of his amazing debut, but he's made it out of the bedroom and into a proper studio. The result is a punchier take on his unique vision. Retro yet defiantly unique.

                                                                            Deerhunter

                                                                            Microcastle

                                                                              "Microcastle" is the follow-up to 2006's critically lauded "Cryptograms" and was recorded over the course of a week at the Rare Book Studios in Brooklyn, NY with studio proprietor Nicolas Verhes (Les Savy Fav, Silver Jews). All tracks on the record feature Bradford on lead vocals except "Agoraphobia" and "Neither Of Us, Uncertainly", which are fronted by guitarist Lockett Pundt, while "Saved By Old Times" also features a vocal collage by Cole Alexander of The Black Lips. It's a more immediate album than it's predecessor, and although not exactly what you'd call a 'pop' album it's much more accessible. In fact, it kind of falls somewhere between "Cryptograms" and Bradford Cox's solo project Atlas Sound. The songs range from shimmering slow fuzz, at times bringing to mind 80s 4AD acts like Ultra Vivid Scene, to more upbeat, psyche-pop experiments. The mood and tempo change constantly, but that's not to say it's disjointed, it all flows beautifully, all the while pulling influences from all over the place; 60s doo-whop to Kraut to garage punk, all filtered through a shoegaze-fuzz. A wonderfully uplifting, off-kilter pop album. Set to be a Piccadilly Records favourite!

                                                                              FORMAT INFORMATION

                                                                              2xCD Info: The CD includes the extra disc "Weird Era". This was included to provide some 'new' tracks due to the fact that "Microcastle" got leaked on the net, ages ago!

                                                                              4AD release ‘Visions’, the defining new album from Grimes.

                                                                              For those unaware, Grimes is the inventive work of Claire Boucher, a project that has gained notoriety since its inception back in early 2010. Moving to Montreal from Vancouver in 2006, she developed Grimes among the city’s burgeoning DIY scene; a scene where both punk ethos and pop music collide, resulting in a distinct sense of community, religiosity and psychedelic revelry.

                                                                              ‘Visions’ will be her fourth release in less than two years. With her creative bent being both musical and visual, her second self embodies the arts of 2D, performance, dance, video and sound, weaving them all together to strong rhythmic effect. Subsequent records have sharpened her production skills and each one has tackled different influences and styles. This new set incorporates influences as wide as Enya, TLC and Aphex Twin, whilst drawing from genres like new jack swing, IDM, new age, K-pop, industrial and glitch, resulting in a record that is both otherworldly and futuristic.

                                                                              Claire describes her work as “the only means through which I can be fully expressive. It is both an ethereal escape from, and a violent embrace of, my experience. The creative process is a quest for the ultimate sensual, mystical and cathartic experience and the vehicle for my psychic purging. ‘Visions’ was conceived in a period of self-imposed cloistering during which time I did not see daylight.”

                                                                              FORMAT INFORMATION

                                                                              LP Info: Limited edition - 1000 copies only.

                                                                              LP includes MP3 Download Code.

                                                                              ‘Blues Funeral’ is the new Mark Lanegan Band record, the first since 2004’s ‘Bubblegum’, recorded in Hollywood, California by Alain Johannes at his 11ad studio. In the mean time, he’s been busy working with the likes of Isobel Campbell, Twilight Singers, Gutter Twins and Soulsavers. Here, the music was played by Johannes and Jack Irons with appearances from Greg Dulli, Josh Homme et al.

                                                                              The awesome ‘Gravedigger’s Song’ kicks things off, with it’s pounding, claustrophobic beats. The tempo slows for the next track ‘Bleeding Muddy Water’, with it’s soulful, pulsing groove. In fact, the whole album ‘grooves’ to varying degrees, from slow and soulful, to Kraut-ish metronomy, to almost funky – yes really! There’s a lot going on here, and it’s taken me a good few listens to get to grips with it, but as ever, Mark’s dark tales, delivered in his distinctive gravelly tones have won me over.

                                                                              With such a wealth of releases behind him, it’s hardly surprising that Joker’s music escapes easy characterisation. Keen to avoid generic formalism, he has even publically distanced himself from being labelled  as just dubstep. It’s understandable, since his music runs deep with R&B, funk and soul influences combining with his trademark pounding bass wobbles and ascending crystalline synths. Also apparent is an affection for computer games; no more evident than on the Sega throwdown album track ‘Level 6 (Interlude)’.

                                                                              Old fans will be pleased to know that trademark instrumentals are there in abundance, from the Vangelis inspired album opener (‘Intro’) to established classics ‘Tron’ and ‘My Trance Girl’, which showcase the muscular synths and sharp drum snaps for which he has become renowned to the warmth of the heady height of summer album closer, ‘The Magic Causeway’, performed with Ginz. These are complimented by a number of startling vocal collaborations that also show just how far his sound has come; with inspired contributions from fellow rising stars like Jessie Ware on the Radio 1 playlisted ‘The Vision (Let Me Breathe)’, Jay Wilcox on ‘Electric Sea’ and Silas from Turboweekend and William Cartwright on forthcoming singles, ‘Here Come The Lights’ and ‘On My Mind’. He also found the time to round up Buggsy, Shadz, Scarz and Double (KHK-SP) to record ‘Back In The Days’, the definitive Bristol track he’s been promising to make.


                                                                              St. Vincent

                                                                              Strange Mercy

                                                                                St. Vincent, the nom-de-stage of Annie Clark, releases the new album, ‘Strange Mercy’. Having worked together on 2009’s ‘Actor’, Clark reunited with producer John Congleton and recorded the album in her hometown of Dallas, TX at Elmwood Studios.

                                                                                The eleven new tracks showcase Clark’s gift for fusing the cerebral and the visceral, her melodically elegant arrangements packing hefty emotional punches.

                                                                                Clark’s virtuosity has been long recognised, and ‘Strange Mercy’ finds St. Vincent redefining the idea of the guitar hero, utilising the instrument as a pointillist artist might wield a brush. Countless judiciously placed riffs and instrumental flares, each distinct and unique, cohere into grand tableaus. On ‘Cruel’, she elicits punchy bursts like an R&B horn section. ‘Cheerleader’ froths and boils, with deep and fuzzy guitars bubbling up to the surface, while ‘Surgeon’ twirls about endlessly, Clark’s vocals dancing amid a blizzard of notes.

                                                                                ‘Strange Mercy’ isn’t an entirely solitary affair either, with Clark joined by a host of other musicians. Included among them are Grammy Award winning Bobby Sparks on mini Moog, clavinet, Arp and Wurlitzer, Midlake’s MacKenzie Smith on drums and Daniel Hart on violin. Also contributing were Beck keyboardist and musical director Brian LeBarton, Evan Smith on woodwinds and Phil Palazzolo.

                                                                                When Justin Vernon emerged from the wilds of Wisconsin in 2008 with his Bon Iver project, and the startling debut album 'For Emma, Forever Ago', perhaps none of us quite realised the magnitude of this unique talent. Not only did he capture hearts across the globe, but 'For Emma' also attained beyond gold sales in the UK, and the follow up EP ‘Blood Bank’ debuted at #14 on the Billboard Top 200 and the Top 40 UK in 2009. In the intervening months and years, Vernon has collaborated non-stop on entirely new projects in varying genres with Gayngs’ sassy innovation on the Relayted album, and Volcano Choir, a freeform adventure with fellow Wisconsin musicians Collections of Colonies of Bees on the album Unmap. He also duetted with St Vincent, appearing on the Twilight: New Moon soundtrack, while Peter Gabriel recorded a cover of Bon Iver’s ‘Flume’ and Bon Iver reciprocated with ‘Come Talk To Me’ for a Record Store Day limited edition 7” release.

                                                                                And then there was the time when Kanye West called up and invited Vernon to pop down to his studio in Hawaii to collaborate on the hip hop auteur’s astoundingly bold opus, 'My Beautiful Dark Twisted Fantasy'. West sampled ‘Woods’ (taken from ‘Blood Bank’) on the track ‘Lost in the World’. Vernon also appeared – alongside Jay-Z, Rick Ross and Nicki Minaj – on ‘Monster’, which proved to be one of the tracks of last year. He also appeared on four other tracks and has since performed live with Kanye on numerous occasions, including the 2011 Coachella Festival.

                                                                                When it came to recording the follow up to 'For Emma', Justin Vernon headed to his hometown of Eau Claire. Bon Iver was recorded and mixed at April Base Studios, a remodeled veterinarian’s clinic located in rural Fall Creek, Wisconsin. The main recording space is constructed over a defunct indoor pool attached to the clinic.

                                                                                “It’s an unique space and destination; it’s our home out here,” says Vernon, who purchased the structure with his brother in late 2008 with the sole intention of converting it into his ideal recording studio. “It’s been a wonderful freedom, working in a place we built. It’s also three miles from the house I grew up in, and just ten minutes from the bar where my parents met.”

                                                                                The creation of 'Bon Iver, Bon Iver' was not solely down to Vernon. On the track ‘Beth/Rest’ and throughout the album, we hear the pedal steel of Greg Leisz (Lucinda Williams, Bill Frisell), the uniquely layered low end of Colin Stetson's (Tom Waits, Arcade Fire) saxophones, the riffing of Mike Lewis' (Happy Apple, Andrew Bird) altos and tenors, and the lush horns of C.J. Camerieri (Rufus Wainwright, Sufjan Stevens). Bon Iver regulars Sean Carey, Mike Noyce and Matt McCaughan contributed vocals, drums and production, Rob Moose (Antony and the Johnsons, The National) helped with arranging and added strings, and fellow members of Volcano Choir, Jim Schoenecker and Tom Wincek provided processing.

                                                                                It’s all there right away, in the thicker-stringed guitar and military snare of ‘Perth’, and ‘Minnesota, WI.’ Anyone who had a single listen to 'For Emma' will peg Justin Vernon’s vocals immediately, but there is a sturdiness – an insistence – to Bon Iver that allows him to escape the cabin in the woods without burning it to the ground. ‘Holocene’ opens with simple finger-picking. The vocal is regret spun hollow and strung on a wire. Then the snare-beat breaks and drives us forward and up and up….The magical poise and restraint of ‘Michicant’. The vocals in ‘Hinnom, TX’ ease to the muffled depths, while the instrumentation remains sparse and cosmic.

                                                                                From the tenderised piano and sprouting strings of arguable album highlight ‘Wash’, we arrive at future single ‘Calgary’ – a worship song to everything 'For Emma' mourned. At the point in the final track ‘Beth/Rest’ when Vernon sings, “I ain’t livin’ in the dark no more” it is clear he isn’t dancing in the sunshine, but rather shading toward a new light. It also provides the most ‘Woods’-like moment on the album in terms of singular voice and production.

                                                                                'Bon Iver, Bon Iver' is Justin Vernon returning to former haunts with a new spirit. The reprises are there – solitude, quietude and hope – but always a rhythm arises, a pulse vivified by gratitude and grace notes, some as bright as a bicycle bell. The winter, the myth, has faded to just that, and this is the new momentary present. From ‘Perth’ to ‘Beth’ we go full circle and reach the summation to a remarkable second album.


                                                                                The National

                                                                                High Violet - Expanded Edition

                                                                                The album opens with the slow drums and mournful vocals of “Terrible Love” but from the start there’s a simmering intensity that builds and eventually explodes into crashing cymbals, pummelling drums, distorted guitars and layered vocals. A dramatic entrance to The National’s fifth album. But it’s not all this heavy, as with their previous releases it’s an album of mood swings. Where “Terrible Love” was explosive, second track “Sorrow” is mournful and melodic.
                                                                                And while the album changes mood and tempo, at times warm and intimate at others dramatic, propelled by off beat drum rhythms, there’s always a palpable intensity. I read recently that they find it hard to finish songs, with one or other band member frequently rejecting material. Whether the atmosphere created here is the cause or result of this I don’t know, but either way it works perfectly. Despite Matt’s melancholy, there’s something really uplifting about this collection of beautifully crafted mini epics.

                                                                                FORMAT INFORMATION

                                                                                2xLtd CD Info: As well as the original eleven-track album, the expanded version will be come with a bonus disc of eight songs featuring an alternate version of "High Violet" opening track "Terrible Love", two brand new tracks "Wake Up Your Saints" and "You Were A Kindness", B-sides "Walk Off" and "Sin-Eaters", as well as three live recordings.

                                                                                "Halcyon Digest" is the fourth studio album from Atlanta’s Deerhunter, released by 4AD.

                                                                                The quartet of Bradford Cox, Lockett Pundt, Joshua Fauver and Moses Archuleta have established themselves as one of the most innovative and important bands to emerge from the US in recent years and "Halcyon Digest" is sure to bolster this newfound status of theirs.

                                                                                Deerhunter are renowned for their prolificacy; in the two years since signing to 4AD, the group has released a double album ("Microcastle" and "Weird Era Cont.") and a five-track EP ("Rainwater Cassette Exchange") as well as numerous unofficial tracks that appear on a regular basis – albeit only for a short duration – on the band’s blog. Furthermore, the band’s own solo projects (Bradford’s Atlas Sound moniker and Lockett’s Lotus Plaza) have released albums at a similar rate.

                                                                                With every release, Deerhunter widen their sphere of influence and critically they continue to impress.

                                                                                STAFF COMMENTS

                                                                                says: Another effortlessly brilliant album from Deerhunter, currently America's greatest exponents of indie art-rock.

                                                                                The album opens with the slow drums and mournful vocals of “Terrible Love” but from the start there’s a simmering intensity that builds and eventually explodes into crashing cymbals, pummelling drums, distorted guitars and layered vocals.
                                                                                A dramatic entrance to The National’s fifth album. But it’s not all this heavy, as with their previous releases it’s an album of mood swings. Where “Terrible Love” was explosive, second track “Sorrow” is mournful and melodic.
                                                                                And while the album changes mood and tempo, at times warm and intimate at others dramatic, propelled by off beat drum rhythms, there’s always a palpable intensity. I read recently that they find it hard to finish songs, with one or other band member frequently rejecting material. Whether the atmosphere created here is the cause or result of this I don’t know, but either way it works perfectly. Despite Matt’s melancholy, there’s something really uplifting about this collection of beautifully crafted mini epics.


                                                                                STAFF COMMENTS

                                                                                says: A bona fide classic, and possibly the summit of The National's already majestic canon. Moody, introspective and deeply involving, "High Violet" manages to be both clever and inventive and at the same time focused in it's somewhat bleak expression. A work of troubled genius whose (very) high points, "Afraid of Everyone", "Bloodbuzz Ohio" and the sublime "Conversation 16" would grace pretty much any album, ever. It is really that good.

                                                                                You'd be hard-pushed to find an album with as many well-crafted, supremely catchy pop songs as this. Original yet soothingly familiar, these tunes manage to break your heart and take you to the top in equal measure. They're written and sung by Tracyanne Campbell and there can't be a sweeter, more believable voice in pop right now. It's like she's your best friend, singing in your ear, but what she's singing is the pages of her diary! This is actually Camera Obscura’s 4th album, but the others just led up to this one; this is the one where they’ve distilled their thing. The production’s perfect too: Concrete’s producer Jari Haapalainen perfectly capturing the old-school indie classicist vibe. Every song's a gem, there's not one duffer, but the gorgeous slowie "James" and the euphoric, horn-driven "Honey In The Sun" deserve a special mention. Mancunian legend Paul Morley's a massive fan too: that's good enough for me!

                                                                                From Minnesota via Los Angeles and now based in Chicago, twenty-three year old Anni Rossi is an exciting prospect. Having been classically trained since aged three, Anni is an accomplished multi-instrumentalist and has been performing as a solo artist for the past few years. Fresh from signing to 4AD, Anni headed straight to Electrical Audio in Illinois to record "Rockwell" with Steve Albini and the results show it to have been a wise move. Mostly using tracks from her existing live set, the energy, depth and eccentricities of her live show have all been successfully translated onto record, making the document she set out to make – something she feels she has never achieved previously. Until now, the viola has formed the centrepiece to her music, often finding itself to be the only instrument used, but more come to the fore here. In particular, drums and cello slightly elevate her sound, appearing occasionally to fill in corners. The fact it was all recorded in one day will surprise most but so will the unlikely cover version of Ace Of Base's "Living In Danger", a version so sublime you wouldn't know what it was unless told.

                                                                                Pixies

                                                                                Bossa Nova

                                                                                  Originally released in 1990, "Bossanova" was seen as something of a let-down initially, (it was always going to be tough following such a huge album as "Doolittle") but Frank Black has since said it's his favourite. There are rockers here but it's on the mellower moments that they really excel.

                                                                                  FORMAT INFORMATION

                                                                                  Ltd LP Info: On 180 gram vinyl for the first time.

                                                                                  Following 2006's astonishing debut "Gulag Orkestar", Zach Condon AKA Beirut returns with "Flying Club Cup". In between the two albums, he has been living in Paris immersing himself in France's culture, fashion, history and music, in much the same way as he absorbed Balkan culture for his debut album. Condon's musical gaze has now looked to the likes of Jacques Brel and Francois Hardy for inspiration, and "Flying Club Cup" is another sweeping and triumphant European folk album that combines these new ideas with elements of his previous work too. Where as "Gulag Orkestar" was mainly a solo effort, for this album Condon has acted as a band leader putting together a core group of eight musicians and together they've managed to recreate his cultural borderless vision with this expansive and enthralling album.

                                                                                  Cocteau Twins

                                                                                  Heaven Or Las Vegas

                                                                                  Originally out in 1990, "Heaven Or Las Vegas" was the Cocteau Twins' last LP for 4AD, and the pinnacle of their releases to date. Everything you love about the trio's music is present here: phased, shimmering guitar soundscapes, subtle synth washes and textures, and of course Liz Fraser's swooping, soaring vocal. If you had to pick only one Cocteau Twins LP to own, then this has to be it!

                                                                                  FORMAT INFORMATION

                                                                                  CD Info: Reissue, remastered by Robin Guthrie.

                                                                                  Cocteau Twins

                                                                                  Head Over Heels

                                                                                  Creating one of the most distinctive sounds in 80s music, The Cocteau Twins were one of the 4AD label's greatest bands. In Elizabeth Fraser, the band had an utterly unique performer who eschewed conventional lyrics for the sound and textures that were layered onto Robin Guthrie's banks of distorted guitars, tape loops and echo.

                                                                                  Losing original member Heggie might at first have seemed a troubling blow, but in fact it allowed the duo of Fraser and Guthrie to transcend the darkened one-note gloom of "Garlands" with "Head Over Heels". The album introduces a variety of different shadings and approaches to the incipient Cocteaus' sound, pointing the band towards the exultant, elegant beauty of later releases. Opening number "When Mama Was Moth" demonstrates the new musical range nicely; Fraser's singing is much more upfront, while Guthrie creates a bewitching mix of dark guitar notes and sparkling keyboard tones, with percussion echoing in the background. Other songs, like the sax-accompanied "Five Ten Fiftyfold" and "The Tinderbox (Of a Heart)" reflect the more elaborate musical melancholy of the group, while still other cuts are downright sprightly. "Multifoiled" in particular is a charm, a jazzily-arranged number that lets Fraser do a bit of scatting, while "In the Gold Dust Rush" mixes acoustic guitar drama into Fraser's swooping singing. Perhaps the two strongest numbers of all are "Sugar Hiccup," mixing the mock choir effect the band would use elsewhere with both a lovely guitar line and singing; and "Musette and Drums," a massive, powerful collision of Guthrie's guitar at its loudest and most powerful and Fraser's singing at its most intense.

                                                                                  Now remastered from the original tapes by Robin Guthrie.

                                                                                  Cocteau Twins

                                                                                  Treasure

                                                                                  "Treasure" is arguably the Cocteau Twins finest album, bassist Simon Raymonde joined the band in 1983 and after a couple of brilliant EPs came "Treasure". Opening with "Ivo", one of their best album openers featuring a brilliant Robin Guthrie guitar solo and followed by one of my all time favourite Cocteau Twins tracks in "Lorelei" the pace never slackens, the quality of the songs never lets up right to the last note on the albums climax "Donimo" which ultimatly explodes into a heavenly choral wall of sound.

                                                                                  Cocteau Twins

                                                                                  Victorialand

                                                                                  "Victorialand" is an altogether more relaxed affair than some of their early work as the Cocteau Twins reverted to a duo of Fraser and Guthrie in Simon Raymonde's absence. Without Raymonde's hectic bass the rhythms are subtler as layered guitar lines and lush soundscapes fill the air. Over all Liz Fraser's wonderfully fine voice weaves in and out. A few saxophone textures, a little tabla and the effect is complete. Highlights include the albums majestic opener "Lazy Calm", the multi textured "Fluffy Tufts", and the haunting and darker closing number "The Thinner The Air".

                                                                                  Cocteau Twins

                                                                                  Garlands

                                                                                  Formed by guitarist Robin Guthrie and bassist Will Heggie in Stonehaven in 1979 and with the addition of Guthrie's then girlfriend Elizabeth Fraser as vocalist, the Cocteau Twins signed to 4AD in 1982 releasing their debut "Garlands" later that year. Anchored by a Roland 808 drum machine and Heggie's swooping bass lines, guitarist Guthrie created an atmospheric sound providing a perfect platform for Fraser's remarkable vocals.

                                                                                  Easily the darkest and most straightforwardly post-punk album Cocteau Twins ever recorded, "Garlands" has a spare, desolate, insistently minor-key sound that owes a clear debt to Joy Division; however, what keeps the proceedings from sounding derivative are Robin Guthrie's spiraling guitar textures (far more primal than on future albums) and Elizabeth Fraser's vocals, which somehow manage to evoke beauty and dread simultaneously. While the album suffers a bit from the use of a drum machine and several songs that are overly repetitious (something rarely found on their later albums), "Garlands" manages to create a sound that, while not indicative of where Cocteau Twins were heading next, still played an important role in defining the 4AD sound of the early 80s.

                                                                                  Now remastered by Guthrie with new artwork.

                                                                                  Pixies

                                                                                  Surfer Rosa & Come On Pilgrim

                                                                                    If you don't already own this CD - why on earth not??? "Come On Pilgrim" was their first mini album, released in 1987, it was followed by the Steve Albini produced "Surfer Rosa". Abrasive, clever, and totally unique, it defined their sound and became one of the most influential albums of the 80s. With the tracks from both albums now available on one CD, you'd be a fool not to buy it!

                                                                                    Lush

                                                                                    Ciao! Best Of...

                                                                                      Formed in London in 1988 and centered around childhood friends Emma Anderson and Miki Berenyi, Lush expertly fused melody and guitars; a sound that was christened ‘shoegaze’ well after they released their first records, a scene they outlived by sharpening their pop sound as they went.

                                                                                      Coinciding with news of the band’s upcoming reformation, ‘Ciao! Best Of Lush’ is finally being pressed on vinyl, previously having only been released as a CD back in 2001.

                                                                                      Unusually for a greatest hits compilation it runs in reverse order, starting with four tracks that appeared on their third album, ‘Lovelife’ (1996), five (six if you include a B-side) from their second ‘Split’ (1994), then four from their debut ‘Spooky’ (1992) before finishing with four early works which includes two from their first ever release, 1989’s mini-album ‘Scar’.

                                                                                      FORMAT INFORMATION

                                                                                      2xLtd LP Info: Limited edition red vinyl. The record’s artwork has been reformatted to now become a gatefold LP and includes the original sleeve notes as written by Dominic Wills.


                                                                                      Latest Pre-Sales

                                                                                      133 NEW ITEMS

                                                                                      It won’t be long until you’ll be able to come in and see the new banners gracing our walls for yourself. But for no… https://t.co/8gqJVd0wLI
                                                                                      Sat 28th - 12:08
                                                                                      RT @Tim_Burgess: Yours. To Be Out now as part of my Ascent of the Ascended EP Available at @PiccadillyRecs https://t.co/vSLThcs2R1 https:…
                                                                                      Sat 28th - 10:55
                                                                                      E-newsletter —
                                                                                      Sign up
                                                                                      Back to top